“Brewing Up A Storm”

Examining the role of

branding and marketing in the
Irish craft beer sector

By
MICHAEL FITZPATRICK

THESIS

Submitted in partial fulfilment of the requirements

for the degree of Master of Arts in Professional Design Practice

School of Art, Design and Printing, College of Arts & Tourism

Dublin Institute of Technology, 2014
Declaration

I hereby certify that the material submitted in this thesis towards award of the Masters in
Professional Design Practice is entirely my own work and has not been submitted for any
academic assessment other than part fulfilment of the award named above.

Signature of candidate:……………………………………………..

Date:……………………………

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Abstract
“Examining the role of branding and marketing in the Irish craft beer sector”

This thesis is piece of exploratory research seeking to identify the key trends present in the
marketing and branding efforts of a newly founded sector of Irish craft brewers. This sector is
experiencing rapid growth, with predications estimating that the market share of craft brewer will
more than double in the next five years. New entrants to the market bring with them a diverse mix
of approaches to communicating their product and business values. It is this diversity of competing
marketing strategies which has prompted this study.

Before dissecting the methods used by this new breed of micro-brewers, the research first
examines the historical context for this craft beer revival. Brewing in Ireland has a long history
which many craft brewers draw upon to communicate their brands, while at the same time
indicating that they are committed to innovative and modern brewing techniques gained from
exposure to foreign brewing cultures.

This synthesis of old and new is the underlying driver of much of the branding used by craft
brewers. The research identifies the most popular current design trends in craft beer labelling and
goes on to study the full range of branding and marketing vehicles used by the sector to set
themselves apart from macro-breweries and the status quo of social drinking in Ireland.

The conclusions drawn by this research focus on the likely obstacles and opportunities facing craft
brewers as the sector expands, macro-breweries make moves to counter this expansion, and the
more successful entrants to the market outgrow their micro-brewery status. The research
concludes that micro-breweries will not abandon the branding and marketing messages which
communicate their authenticity and commitment to quality, but that these claims will be so
universal in the sector as to be rendered largely ineffective as a means to persuade consumers. New
value propositions will have to be conceived to enable craft brewers to maintain viable operations,
focused on supplying product to a local region before seeking opportunities to broaden their
customer base through national expansion and export.

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 Dedication

For my wife, Tara

And my son, Malcolm.

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Acknowledgements
This thesis has been aided by the efforts of many kind, patient and professional individuals. Not all
of them can be listed here, but the encouragement and assistance they have bestowed upon me has
been instrumental in bringing this research to an academic standard.

I would like to make special mention of the following people:

Diane Dignam, for persuading me to pursue further academic awards and providing hard-earned
advice.

My thesis advisor, Barry Sheehan, whose insightful critique and challenges on our mutually held
topic of interest was key to shaping the final form of this thesis.

Finally a special thanks to all of the determined men and women of the craft brewing sector who
have pursued a dream and made this country a more interesting and diverse place to share a few
pints with friends. Without their open and honest sharing of their experiences and insights, this
thesis would be a much lesser work.

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Table of Contents
Declaration ................................................................................................................................................................................. ii
Abstract ...................................................................................................................................................................................... iii
Dedication.................................................................................................................................................................................. iv
Acknowledgements ................................................................................................................................................................. v
Table of Contents .................................................................................................................................................................... vi
List of Figures ........................................................................................................................................................................... ix
1.0 Introduction ..................................................................................................................................................................... 10
1.1 Background .................................................................................................................................................................. 10
1.2 Aims & Objectives ..................................................................................................................................................... 13
1.3 Context ........................................................................................................................................................................... 14
1.4 Research Rationale ................................................................................................................................................... 16
2. Literature Review ............................................................................................................................................................. 18
2.1 Introduction................................................................................................................................................................. 18
2.1.1 Limits of Written and Published Work .................................................................................................... 18
2.1.2 Reliance on Reports/Online Resources ................................................................................................... 19
2.1.3 Defining Irish Craft Brewing ........................................................................................................................ 19
2.2 Industry Overview .................................................................................................................................................... 22
2.2.1 Historical Context ............................................................................................................................................. 22
2.2.2 Roots of Irish Craft Brewing ......................................................................................................................... 25
2.2.3 Growth of the Market ...................................................................................................................................... 26
2.3 Branding & Marketing Trends ............................................................................................................................. 27
2.3.1 Marketing Craft Beer ....................................................................................................................................... 27
2.3.2 Branding Craft Beer ......................................................................................................................................... 30
2.4 Analysis of Literature .............................................................................................................................................. 32
2.5 Summary ....................................................................................................................................................................... 32
3.0 Research Design.............................................................................................................................................................. 34
3.1 Introduction................................................................................................................................................................. 34
3.2 Theoretical Perspective .......................................................................................................................................... 35
3.2.1 Rationalism & Deduction ............................................................................................................................... 35
3.2.2 Empiricism & Induction ................................................................................................................................. 35
3.3 Methodology................................................................................................................................................................ 36
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 3.4 Research Methods ..................................................................................................................................................... 37
3.4.1 Collection of Primary Data ............................................................................................................................ 39
3.4.2 Branding Analysis ............................................................................................................................................. 40
3.4.3 Marketing Analysis ........................................................................................................................................... 41
3.4.4 Irish Craft Beer Festival.................................................................................................................................. 42
3.5 Ethics .............................................................................................................................................................................. 43
3.6 Scope............................................................................................................................................................................... 43
3.7 Summary ....................................................................................................................................................................... 44
4.0 Analysis of Data............................................................................................................................................................... 45
4.1 Introduction................................................................................................................................................................. 45
4.2 Characteristics ............................................................................................................................................................ 45
4.2.1 Craft-Like Beers ................................................................................................................................................. 46
4.3 General Aesthetic Trends ....................................................................................................................................... 54
4.3.1 Colour .................................................................................................................................................................... 54
4.3.2 Typography ......................................................................................................................................................... 55
4.3.3 Illustration ........................................................................................................................................................... 56
4.3.4 Logo ........................................................................................................................................................................ 56
4.4 Branding & Packaging ............................................................................................................................................. 56
4.4.1 Containers & Labels ......................................................................................................................................... 56
4.4.2 Unified Line Branding ..................................................................................................................................... 58
4.4.3 Glassware ............................................................................................................................................................. 61
4.4.4 Bar Taps ................................................................................................................................................................ 62
4.4.5. Merchandise....................................................................................................................................................... 63
4.4.6 Print Media .......................................................................................................................................................... 64
4.5 Company Branding ................................................................................................................................................... 67
4.5.1 - O’Hara’s / Carlow Brewing Company .................................................................................................... 68
4.5.2 The White Hag Brewery ................................................................................................................................. 69
4.6 Retail Establishments .............................................................................................................................................. 70
4.6.1 Alternative venues............................................................................................................................................ 71
4.7 Marketing Channels.................................................................................................................................................. 72
4.8 B2B Marketing ............................................................................................................................................................ 73
4.9 Summary ....................................................................................................................................................................... 73
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5.0 Conclusions & Recommendations ........................................................................................................................... 75
5.1 Introduction................................................................................................................................................................. 75
5.2 Conclusions .................................................................................................................................................................. 75
5.3 Recommendations .................................................................................................................................................... 78
5.4 Summary ....................................................................................................................................................................... 79
6.0 References & Bibliography ......................................................................................................................................... 80
7.0 Appendix ............................................................................................................................................................................ 84

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List of Figures
Figure i - 'A Bar at the Follies Bergere' by Manet. ..................................................................................... 30
Figure ii - Hilden Ale / Hilden Brewing Company. .................................................................................... 47
Figure iii - Stag Bán / 9 White Deer Brewery............................................................................................. 48
Figure iv - Rocket Ship IPA / Blacks of Kinsale Craft Brewery ................................................................ 49
Figure v - McGargles / Rye River Brewing Company ............................................................................... 50
Figure vi - Brú Rua / Brú Brewery ............................................................................................................. 51
Figure vii - N17 Rye Ale / N17 Brewery .................................................................................................... 52
Figure viii - McGrath‟s / Clanconnel Brewing Co...................................................................................... 53
Figure ix - An example of screen printed labelling..................................................................................... 58
Figure x - An example of a unified line branding scheme .......................................................................... 59
Figure xi - An example of a glass growler .................................................................................................. 61
Figure xii - An example of a custom bar tap............................................................................................... 62
Figure xiii - O'Hara's online merchandising store ....................................................................................... 63
Figure xiv - A print advert by Galway Bay mimicking the early Punk asthetic ......................................... 64
Figure xv - An example of a branded beer mat ........................................................................................... 65
Figure xvi - An example of a four bottle beer caddy .................................................................................. 66
Figure xvii - O'Hara's highlight their craft credentials through their branding ........................................... 68
Figure xviii - White Hag blend old and modern design influences in their branding ................................. 69

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1.0 Introduction
The story of craft brewing in Ireland is the story of regrowth from ashes. The story of craft
brewing in Ireland is the story of innovation and experimentation in an industry which has for a
long time settled for mediocrity and stagnation. The story of craft brewing in Ireland is the story
of a small but spirited rebellion against an overbearing empire of brand monopolies and customer
complacency. All of the above statements contain some kernel of truth, but the most important
thing to bear in mind is that they are all stories; convenient narratives that set the scene for an
audience and carry the storytellers agenda into their hearts and minds.

This thesis is not about whether any of the above stories are true or not. The purpose of this
thesis is to examine how these stories are told, who tells them, and what effect they have had.
The following research examines the branding and marketing of craft beer in Ireland. It looks at
the methods by which these small companies position themselves as entrants to a very
competitive market. Ultimately this thesis attempts to pick out the effective marketing and
branding strategies that have taken some of these companies from small start-ups to active
challengers of the dominant players in the Irish beer market.

1.1 Background
The production of beer in Ireland stretches back to before written records begin. Records indicate
that inhabitants of the island were brewing from the 6th Century AD onwards, although it is
almost certain that the practice stretches back even further. Brehon Law makes repeated
reference to malt (frequently used as a currency) ale and beer and the laws regarding its
production and uses. Brewing was a recognised specialisation, requiring accreditation by local
authorities.(Hornsey, 2003, pg. 262) Before brewing was ever big business in Ireland, it was a
serious business.

Leaping forward a thousand years or so, brings us to an Irish brewing business more
recognisable in the current day. The Industrial Revolution had as big an impact on beer
production as it did on so many other commercial activities. Many technical advances made in
the UK and Ireland changed how beer was made, stored and transported. This would eventually

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lead to the rise of some of the world‟s first international beer brands, not least amongst them the
brewery founded by Arthur Guinness.

Taking another step forward in history brings us to the early 20th Century, when the rise of
marketing and branding as applied disciplines would serve to cement the public‟s conception of
what represented „Irish‟ drinking; the Guinness and Smithwick‟s that have come to be
synonymous with Ireland itself as a global brand. These power brands had enjoyed unparalleled
success in capturing market share here and abroad, attracting the attention and investment of
multinationals.

This in turn opened the Irish market to the stable mates of these acquired brands. In a short space
of time, Ireland‟s public houses took on a peculiar character that offered a strange contrast to our
British neighbours (The market most like our own). Irish publicans are proudly independent, the
industry having shed the close relationship between public house and brewery that exists in the
U.K. Of the roughly 57,000 public houses in the UK, over half, 30,000, are owned or under Tied
Lease to large pub groups and regional breweries. The rest, operating as Free Houses, maintain a
business model that allows them to host beers free of obligations to a particular brewery. In
Ireland the vast majority are family owned, even in large urban centres, but are none the less
beholden to a very few suppliers and offered an identical set of choices, devoid of local or
regional variations. It became quite possible that the smaller brewers of Ireland would yield the
stage to the larger producers and that would be the end of the matter.

However, the last ten years have seen some remarkable changes in the fortunes of the small and
independent brewer in the Irish market. The same entrepreneurial spirit that convinced Arthur
Guinness to take up the brewing of porter in 1759 seems to have found a home in the various
small brewing innovators who have established themselves as craft microbrewers and are now
expanding into markets once thought to be firmly in the grip of a few multinational concerns.
This is a reflection of the rising profile of craft beer worldwide, but has some special significance
in Ireland, which has made alcoholic drink and its imbibing, a foundation stone of the national
character.

Craft brewing, as the term implies, is the practice of making beer by hand. This means that the
emphasis is on producing a quality product in small batches with a lot of character and
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complexity. Innovation and experimentation are recognized characteristics of the craft brewer.
(brewersassociation.org, 2014) The ingredients used tend to be of a higher quality than is
generally found in larger scale brewing operations, and batches are of a smaller size. In some
cases a brew may a one-off, never to be repeated, often to mark a special occasion. In Ireland
craft brewers who brew as a business rather than a hobby are small businesses operating under
the aegis of the Revenue‟s Alcohol Products Tax code.

This tax code, which has proven to be one of the key drivers of this re-emergence of craft and
micro brewers was signed into legislation in 2006 by the then Finance Minister Brian Cowan
(Revenue.ie) This adjustment to the manner in which microbreweries were taxed was crucial.
Essentially the changes were to offer a 50% rebate on the tax payable on the production of beer
above 2.8% ABV (alcohol by volume), coupled with an increase of the production cap that
defines a microbrewery to 20,000 Hectolitres. (Budget 2014 increased this limit to 30,000 Hl.)

These changes have an impact on many other aspects of craft brewing. The large rebate on
taxation frees up funds that can, in part, be committed to improving the standard of packaging
and marketing employed. It is this aspect of the craft brewing business that this research will
examine.

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1.2 Aims & Objectives
The aim of the thesis is to examine the unique problems and opportunities in this market from a
design and marketing perspective. The question above breaks down into a number of sub-
questions. These sub-questions look into how these small and medium enterprises have emerged
in the current market, how they define themselves, how they represent themselves to customers
directly and how they relate to the alcoholic beverage industry as a whole. It is one thing to enter
a market, quite another to gain ground there and hold it. This thesis aims to uncover the branding
and marketing practices that have made this re-invigoration of the market by micro-breweries
possible.

The thesis objectives are threefold:

1. Establish a historical context against which the current craft beer sector in Ireland
can be evaluated. Use this context to understand the marketing and branding of
newly established micro-breweries

2. Examine the branding and design elements that are present in Irish craft beers
presentation, and identify common trends. Highlight the unusual and noteworthy
methods being used by craft brewers to market and brand their products and
businesses

3. Explore which marketing strategies and tactics are used by Irish craft brewers and
identify those that can be replicated by other brewers entering the sector. Discuss
how these approaches are likely to evolve and what challenges they may face in the
future.

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1.3 Context
The stakeholders in the re-establishment of craft brewers as competitors in the Irish alcoholic
beverage industry are a diverse group that spans the supply chain from brewer to consumer. In
the past craft brewers could content themselves by competing as alternatives to the larger
established brands, marking themselves apart as premium products that catered to more refined
drinkers. Now that so many entrants are crowding the market, they must consider how and where
they will compete with each other.

In an effort to compete with the established incumbents and in the face of resistance from
publicans, some craft brewers have established their own chains of public houses here in Ireland.
The sources of this resistance are varied, but it can generally be said that the status quo of a few
large supplier in the sector, coupled with the recent economic uncertainty for the pub trade had
led to an attitude of risk aversion. Thus, entry into the retail environment is sure to present its
own set of challenges and successfully transferring brand values will be key to achieving
success. Establishing the public house as a showroom for a brewer‟s products walks a fine line
between brand synergy and identi-kit pubs.

The pushback from multinationals is obvious, and they have started to dig into their own
portfolios for brands that can compete in the craft beer market. Smithwick‟s recently released
pale ale and the revived porters from the Guinness archives illustrate how quickly the macro
brewers are responding to a shifting market. Understanding and recapturing the customer who
has drifted from their traditional offerings requires an understanding of how their message
should be shaped to establish authenticity with a consumer tuned to the brand values of craft
brewing.

There is a common thread through the sector of foreign nationals and returning expats bringing
the lessons learned abroad about the craft brewing market back to Ireland. This influx of
international influence gives the craft brewing industry here a cosmopolitan character, somewhat
at odds with the common marketing messages used to frame craft beer as a part of a rich and
longstanding Irish tradition.

Of course, the Irish craft brewing industry is also finding ways to access the wider global beer
and craft brewing markets. Indeed, it is interesting to note how some companies making craft
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beer here in Ireland find success first in foreign markets before making an impact on their home
turf. As with many other food and drink brands established on this island, Irish craft brewers
seek to use the “Irishness” of their beer as a value-adding quality, a well-trodden path to success
in markets with large immigrant communities, like the USA. This point is well illustrated by the
success of the Irish Pub Company, a public house design and fitting operation who have built
over 500 „Irish‟ pubs around the globe. The Irish Pub Company, with strong support from
Guinness, have researched and developed a number of templates for Irish pubs that promise to
provide the desired sense of authenticity, regardless of the locale or size of the venue. What the
success of this company tells us is that there is an established international market for the
celebrated Irish pub experience. Finding ways to capitalise on the groundwork done by macro-
brewers in expanding the market for Irish products is key to growth for craft brewers.

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1.4 Research Rationale
This research covers recent academic and industry material relating to brewing in Ireland. Much
of this material deals with the events and circumstances that have laid the groundwork for craft
beers current success. Some of the literature directly addresses the issue of marketing craft beer
in the Irish market, however this is mostly from the perspective of large multinational brands
operating in the country. The literature review covers currently available material related to craft
beer, especially the marketing and branding of same. This largely draws on industry websites and
journals, due to the very current nature of the thesis topic. The review lays the groundwork and
contextual background for research and analysis that focuses on craft beer marketing. This is
followed by a description of the research design.

The research design chapter explains the reasoning behind the research methods adopted and
outlines the structure of that research. Interviews and a direct examination were chosen as the
most appropriate means of gathering useful data for analysis. These interviews were conducted
with as many different brewers as possible in an effort to identify industry trends and build up a
picture of the sector.

Examining the branding identities of Irelands craft brewing industry is central to exploring the
role of brands and marketing in the very rapid expansion of the market and the increasing
number of entrants. Beers generally fall into a very few broad categories, yet have been
successful in creating and maintaining brand awareness for a product that could easily become
commoditised. Brand identity is key to setting craft beer apart from other offerings and must be
distinctive and communicate the brand values clearly. There are a wide variety of approaches in
evidence in this expanding market and these are sure to evolve as market share is captured and
surrendered.

While there is a world of subtle differences to be explored between the wide variety of beers in
the marketplace, opportunities to gain market share only open up once you can convince the
traditionally mono-choice beer drinker to step outside of familiar boundaries and try your
product. It would seem apparent that craft brewers understand this difficulty and have taken
pains to establish strong brand identities upon entering the market. These brand identities are
supported by marketing pushes that target both the retailer and consumer and would appear to

16
forgo a media-heavy approach in favour of direct selling and product tasting/comparison events.
Taylor McQuiston, discussing marketing approaches on CraftBrewingBusiness.com highlights
why this approach is important. “These [influencers] are the types of people that you can reach at
tastings, festivals, on-premise promotions.” (CraftBrewingBusiness.com, 2014)

As with any research focusing on branding and marketing, the material gathered is largely visual
in nature. In the chapter covering analysis of this data the visual characteristics of the craft beer
brands are examined in an effort to uncover key trends. This is followed by a review of the
marketing channels and methods used by craft brewers, highlighting notable examples in the
trade.

The final chapter covers the conclusions that can be drawn from this research and analysis. These
conclusions focus on the broad trends that can be found in the evidence. Recommendations are
offered with a view to shaping thought on the likely best practice for the future of those
competing in the industry.

Most of the competitors in the craft beer market are small concerns, operating from regional
bases outside of Dublin and selling into markets where they must find a place alongside the taps
and bottles of much larger brands. In Dublin city there is a mix of brewers, brewpubs and craft
beer bars. One of the longest established of these is the Porterhouse, a pub brand known for their
huge range of international craft beers, and in more recent times a well-developed range of in-
house brews. The Porterhouse brand, established in 1989, has since added establishments in
Cork, London and New York.

It is clear that the consumer has created a demand for beers that are not provided by larger
brewers and are regional in nature. The younger profile of these craft beer drinkers means that
there are opportunities to establish the sorts of long-term customer/product relationships that are
the bedrock of sustainable businesses. The challenge for a microbrewery is to determine how
large they can reasonably grow while maintaining the brand values that have made them a
success. Examining the practicalities and pitfalls of expanding as a craft brewer and the effects
on how the brand is perceived are worth considering over the long-term.

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2. Literature Review
2.1 Introduction
This review of the current body of work covering the marketing and branding of craft beer is
split into two main sections. The first is a broad overview of the Irish craft brewing industry,
examining the historical elements that have shaped it. It looks at what defines a craft beer and
establishes a contextual framework for discussing the sector. The second is a summation of
recent reports and industry article‟s analysis concerning the expansion of the craft beer market
since the early 2000‟s and the marketing of craft beer in particular.

2.1.1 Limits of Written and Published Work

Current evidence suggests that the manufacture of beer can be traced back about 7000 years
(Hornsey, 2003, Pg. 8). It would be impractical to attempt to cover this entire period from the
perspective of marketing, especially if we accept that marketing as a discipline is a much more
recent innovation (Bartels, 1976). Bartels does not suggest that marketing did not exist in some
form in the time before the term „marketing‟ was coined, but he contends that “The essence of
marketing was the combination of factors”. These factors were not previously thought of as
being part of a distinct practice, and so marketing as we understand it did not exist until it was
recognized as such. In short, marketing can be regarded as a relatively recent business
innovation, despite having characteristics that are observable in cultures going back many
centuries. With this in mind, we will examine, in brief, the most common and effective means by
which craft beer is marketed and sold today.

The literature surrounding craft brewing goes back some way, for the most part focused on the
U.K., North American and European brewing industry. The existing research in this area is
closely related to more general marketing research and can be readily applied to marketing beers
produced by macro-breweries that seek to reach a wide audience through traditional channels.
However, as this research will show, craft beer, as a market sector, is often set at odds with
macro-brewing, both in terms of scale and resources, and thus requires a different marketing
approach.

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2.1.2 Reliance on Reports/Online Resources
In order to find useful and credible sources covering this topic, much of this literature review
draws on reports and papers released in the last few years. Bord Bia, as an advocate body for
Irish food and drink producers, has proven to be a valuable source of related material and these
reports have been favoured due to the limited nature of this paper. Mintel, the global market
research group, also carry material relevant to the thesis topic and have been referenced
accordingly.

The other main source of information is the growing body of online articles produced by beer
enthusiasts, industry bodies and marketing news sites. These are written from a variety of
standpoints and while there is a large degree of subjectivity, it is worth examining what these
commentators think works in the current marketplace.

While it was once enough to state that there was very little academic research in this field, that is
no longer strictly true. The raised profile of Irish craft brewers has drawn the attention of media,
industry analysts and academics. A number of recent papers related to the industry sector have
been produced in the last 2 / 3 years and have proved instructive.

2.1.3 Defining Irish Craft Brewing

In an effort to limit the scope of this review, we will concentrate on Irish craft beer. For a beer to
be considered craft in the Irish market, it must fulfil certain criteria. In 2008, then Minister for
Finance, Brian Cowen, made two changes to the regulatory and tax laws governing craft/micro
brewing. The cap on production was increased to 20,000 hectolitres (Hl) and the tax rebate was
increased to 50% (Revenue, 2014). These two changes had the effect of opening the sector to a
new wave of start-up businesses and companies that had found it difficult to operate effectively
under the old limits.

In an article in Beoir magazine, Seamus O‟Hara, founder of the Carlow Brewing Company, cites
this change in taxation as “hugely important” (Beoir, 2014). “The result was an increase in
breweries and new jobs all around the country.”

Tax breaks and production capacity alone do not fully define the craft brewing movement in
Ireland. Set against the backdrop of large macro brewing operations like Diageo present in
Ireland, Irish craft brewers can be regarded as a reactionary movement, determined to set
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themselves apart from what they regard as the hegemony of big brand beer, mass produced and
marketed for widespread appeal. The other major identifying characteristic of the sector is that it
has a strong sense of being responsible for a revival. This message is a common theme repeated
in much of the marketing material produced by Irish microbreweries.

Then there is the product itself. While just about every maker of beer, large or small, makes
claims about the quality and purity of their product, craft beer producers are at pains to point out
that their beers are of a higher standard. Because they make small batches, and generally use a
higher grade of raw materials, these micro-breweries seek to make beers that are of the highest
possible quality. This quality is exhibited in an end product that can generally be expected to
have a much more complex and flavourful taste and aroma profile when compared to the output
of macro breweries.

The other notable feature of craft brewing is a tradition of producing festival and seasonal brews.
These are often beers that use an unusual ingredient or combine a rare or unorthodox hop with a
beer style suited to the season in question. Examples include Comeragh Challenger, by
Dungarvan Brewing, an Irish take on the traditional English Bitter using the Challenger hop and
O‟Hara‟s Blackberry lager, brewed for festivals only. Because of the flexibility of small batch
production methods and the importance of festivals in the marketing of craft beer, producers are
incentivised to produce „special editions‟ alongside their regular range. It is also a way to
demonstrate brewer‟s versatility and skills.

In addition to these in-house projects, many craft brewers also engage in a practice known as
contract brewing. This is the practice of a brewery agreeing to provide a third party with a beer
brewed to their recipe or specifications under contract for a fixed amount or term. Another
common arrangement is for a „gypsy brewer‟ to arrange to make use of established breweries
premises and equipment to produce their own beers, usually on a per batch basis. In the past
contract brewing would often be undertaken by a brewer at the behest of another company, who
might have very little to do with the process except providing a name and branding for the
resulting beer. Many of the newer waves of craft breweries established since 2000 in Ireland got
their starts as contract breweries, or as „gypsies‟. The Brown Bag Project brand of beers are
made exclusively using this method, making them a closely followed and hard to source touring

20
brewery. They make extensive use of social media, distinctive branding and value driven
marketing to keep their audience and customers engaged with their brewing efforts. (Hennessy
and Jensen, 2014) A less bohemian approach to contract brewing is taken by the well-established
Carlow Brewing Company, who make O‟Shea‟s Irish Stout under contract for Aldi.

Finally, there is the „Them‟ that defines the „Us‟ of craft brewing. For the purposes of this thesis
and in line with the language used throughout the print and online coverage of craft brewing, I
will refer to larger brewing entities as „macro‟ brewing or brewers. These brewers are generally a
target of ire and contempt amongst craft brewers, but in reality, they are nothing more than the
result of market forces that have shaped the brewing industry in the years following the Second
World War.

Most of the world‟s largest brewing companies are now multi-billion Euro global entities
spanning intercontinental markets. However they only have to look back to a period following
the end of the Second World War to find their roots in enterprises that look remarkably like the
start-ups and family run businesses this thesis focuses on. A history of consolidations, takeovers
and mergers have made these companies the giants they are today and in some cases this has led
to a focus on risk minimisation and economies of scale that leverage consistency over
excellence. Others have built brands on the back of quality beers that have travelled well and
found receptive audiences around the world, allowing them to expand their operations and
become household names.

With this in mind, when macro-breweries are mentioned in the following work, it should be
regarded as a term that denotes a brewery of a size beyond that described by the current
legislation covering micro-breweries in Ireland and carries no negative connotations. Currently,
any brewery producing beer over the limit of 30,000 hectolitres per annum is considered to no
longer be a micro-brewery for the purposes of taxation.

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2.2 Industry Overview
In this section, a historical perspective of the brewing industry is presented in order to provide
context for the recent revival and show how it is linked to the heritage of Irish brewing, despite
the transplanted nature of the methods and practices that typify the new generation of brewers.
This is followed by a look at the coverage that examines this revival. Craft beer has become a
cause celebré for the Irish food and drink industry in a time when beer sales are declining
globally (Mintel, 2014). Caroline Hennessy, co-author of „Slainte: The Complete Guide to Irish
Craft Beer & Cider‟, views the pairing of craft beer and food as a natural partnership – “We see
craft brewing running alongside the whole artisan food industry, people looking for local food
produced by people you can put a face to, and craft beer is the same.” The last part of this
industry overview covers the reports and forecasts detailing the expected growth of the sector in
Ireland and abroad.

2.2.1 Historical Context

Craft brewing represents a small part of a much larger industry, that of commercial brewing.
During the years spanning the end of the 19th and start of the 20th Century, brewing had not yet
become a truly global business. Although there were a very few beer brands (Guinness being
chief amongst them) that had established a presence in international markets, the majority of beer
making took place at a local level. Each country had its own mosaic of regional and national
brewers, competing in domestic markets, but rarely venturing far from customer bases that were
culturally and geographically close to those beers. In those cases where large scale export
activity existed, it was generally into colonies that could be characterised as transplanted
extensions of the home market.

In Ireland, the story of brewing cannot be examined without understanding the part played by
one of Ireland‟s most recognisable company‟s, Guinness. Guinness began exporting to Britain
very soon after establishment in Dublin in 1759. The brand was so successful that the balance of
trade in beer between Ireland and England was reversed by the early 1800‟s. This success was
almost entirely built upon one product, Guinness Porter, an interpretation of the dark, heavily
roasted, barley beer popular with the porters of London‟s docklands. By 1799 Guinness Porter
was the only product of the Guinness brewery. A succession of heads of the Guinness family
continued to expand the company and the Guinness brand, becoming Ireland‟s largest brewer,

22
then the largest brewery in Europe by the end of the 1800‟s. This expansion made Guinness a
giant in the industry, far outstripping other Irish breweries in terms of production capacity and
exports. This growth into an international brand necessitated the establishment of Guinness
breweries outside of Ireland. The first of these, at Park Royal in London, took place in 1936,
followed soon after by the granting of licences to brew Guinness in New York and Australia.
This marked the beginnings of a program of production growth that has resulted in Guinness
being brewed in 48 countries around the world, and sold in twice as many again. This practice of
regional brewing of a global brand would come to typify the way macro-breweries in the 20th
Century would manage their brands.

Expansion of one brewery meant the contraction of competitors, but was not the sole cause of the
changes that would cause small scale producers of beer to exit the market. Economic, social and
legislative factors created a market that was quickly concentrating into the hands of fewer
controlling businesses. Other factors include the efforts of the Temperance movement to lobby
for changes in the law regarding where and when drink was sold, and the changing tariffs and
duties imposed on brewers in the UK and Ireland.

As smaller brewers were forced out of business, public houses were bought up by those
breweries who could survive the changing market. This consolidated the tied house model that
characterises the public house system in the UK up to the current day. This was most pronounced
in cities, where rates of tied leases were as high as 80%, but even in more traditionally
independent countryside taverns 56% of public houses were owned by a brewery. The demand
for beer was also dropping as temperance activists sought to change people‟s attitudes towards
alcohol. (Bamforth, 2011, pg. 87) In the UK, between 1900 and 1913, despite a 13% rise in
population, beer consumption saw a 5% drop. (Garrett, 2012, pg. 163) The pressure placed on
governments in the US, the UK and Ireland by temperance activists played an important part in
shaping laws which substantially altered the way that public houses were licensed and operated.
(Garrett, 2012, pg. 768)

The rise of global trade after WWII brought with it further consolidation of breweries and it is in
this period that we start to see the emergence of global brand brewing operations that produce the
vast majority of beer made today. The consistent trend of mergers and consolidation of breweries

23
into larger and larger multinational entities has created several massive brewing companies that
hold significant shares of the global market. The biggest of these, AB InBev, was formed
following the merger of Interbrew and AmBev, two of the largest brewing companies in Europe
and the Americas respectively. This entity, called InBev, went on to buy out another of its
competitors, Anheuser-Busch, forming AB InBev in a deal worth $52 billion. It is estimated that
AB InBev alone controls up to 25% of the global beer market.

Ever since advances made during the Industrial Revolution in the bottling and capping of beer,
craft beer makers have sought out new markets for their product beyond its region of origin. The
ability to take a beer to a new market is usually built on a strong local base, built up over a period
of time. However, for Irish craft brewing, this model was not an option back in the mid Nineties.
The dominance of established multinational macro brewers made finding routes into the Irish
market very difficult and national tastes had been shaped by brewing practices that were at odds
with the products craft brewers were able to offer. The dominance of Guinness and a few other
import lagers in the Irish market during the latter half of the 20th Century cannot be overstated.
As a result much of the brewing practice that had existed in Ireland for the previous 300 years
was all but forgotten by producers and consumers alike. The response of micro-breweries to this
market reality is instructive. When faced with these obstacles Irish craft brewers have used a
blend of marketing and branding tactics which borrow in equal parts from the heritage of
brewing in Ireland and the innovation and dynamism of the modern craft beer revivals that have
occurred in other countries. The benefit is that the Irish market, having emerged from a period of
relative homogeneity, is open to a broad range of new experiences with very few preconceived
notions about what is, or is not, acceptable as a beer. This represents a huge opportunity for craft
brewers to carve out a place for themselves in a rapidly evolving market, without needing to
placate established conventions or tastes.

Seamus O‟Hara was one of the first of this new breed of brewer to take advantage of this
opportunity. Initially founded in 1996 in Baganelstown, Co. Carlow, the company was started by
Seamus O‟Hara and his brothers. The inspiration to open a craft brewery came from his
experiences abroad in the US and UK. To expand his brewing business he maintained his base of
operations in Carlow, but shipped almost all of his produce abroad, bypassing a disinterested
local market entirely to service the tastes of craft brew drinkers in Europe. He could legitimately
24
claim the strong associations his business and product had with the Irish national brand, without
regular Irish consumers being in any way familiar with his output. His export strategy was
largely dictated by a lack of Irish consumers for his product. “Our solution to keep going while
the Irish market was stagnant was to start exporting within a year or two of opening.” (Beoir,
2014). From a peak of 75% of O‟Hara‟s output being exported during the early 2000‟s, that
figure is now reduced to circa 50%, still a significant portion of their business. The growth of a
domestic market for craft beer has not diminished the need for expanding brewers to seek out
export opportunities and according to the 2025 forecast by Bord Bia, “The potential for further
growth will be limited in traditional Western markets.” (Bord Bia, 2014b).

The other notable success from this period is the Porterhouse Group, a chain of pubs established
in Ireland, and then abroad, that specialised in showcasing the best of international craft brewing
alongside their own efforts at a time when most other pubs were selling a much more limited
range of beers. These two approaches, one exporting Irish beer to overseas markets, the other
educating the Irish consumer about the wider world of craft beer, were to prove vital to laying
the groundwork for the craft brewing movement that would emerge.

2.2.2 Roots of Irish Craft Brewing

Irish craft brewing shows displays evidence of influence from US craft brewing practices.
American brewers, early on in their own craft beer revival took their cues from developments in
brewing that had originated in Europe, the UK and Ireland. Acitelli (2013) points out that while
“the student had become the teacher”, it was the reinvention of European beer styles that first
galvanised American craft brewing. This formed the basis upon which it built a body of practice
that was now “more diverse in style, bolder in flavour and influential in experimentation” than
the old world brewers it had emulated.

In light of this it makes sense to view the Irish craft beer movement in the context of history
repeating itself. Just as American craft brewers built their initial efforts on the back of
established European styles similarly Irish brewers, especially those returning from the USA,
have started with styles of beer familiar to drinkers educated in craft beers from abroad and have
moved on to develop and experiment further. This loop of reference and feedback has
accelerated the development of the local industry to the point where it is now reasonable to

25
expect Irish craft brewing to return to the forefront of the international scene. (Oliver 2011,
pg.495). Indeed, the results of this can already be seen in the shape of international awards for
Irish craft beers. (Licensing World, 2014).

In the Irish craft brewing space Beoir.org serves as an organ for industry news and reviews,
positioning itself as a consumer guide and advocate. Beoir was founded in 2010, emerging from
the online community based around IrishCraftBrewer.com (now defunct). As a consumer
advocacy body it is closely modelled on the UK equivalent, CAMRA (Campaign for Real Ale).

Craft brewers are also committed to building organisations which represent their points of view.
The Beer Ireland Artisan Brewers Society was founded in 2012 to represent Irish craft breweries.
The founders are all producers of craft beer who felt there was a need for an industry body
focused on communicating the values of craft brewers in Ireland. Both organizations solicit
industry members to their associations and keep track of who is operating in the market.

2.2.3 Growth of the Market

Emphasising a beer‟s unique properties is one way to position the product in the market. One of
the advantages of marketing a craft beer is that you are generally selling a premium product that
has been well made, with attention to detail, using high quality equipment and ingredients.
However, this “baked-in marketing” (McQuiston, 2013) is not generally considered to be enough
to result in success in a crowded market. The other competitors in the sector are also able to draw
upon this same set of product values, so other factors must be promoted to ensure sales.

If there is a lack of haste amongst publicans to stock craft beers, the same is not true of other
retailers, especially supermarkets and off licenses. “Supermarkets realised that there was a big
opportunity for them to sell foreign beer to the foreign customer and Irish people realised that
there were alternatives to what they were drinking.” (Licensing World, 2013) Restaurants are
also playing an important role as access channels to new markets.

The arrival of premium European and New World beers into the Irish market bears a striking
resemblance to a previous change in tastes in Ireland. Wine sales in Ireland underwent a
significant shift during the 1980‟s and 1990‟s due to an expanding awareness amongst
consumers, brought on by travel and exposure to more sophisticated wine drinking cultures.

26
While there is no significant production base of wine in Ireland, due largely to the unsuitability
of the climate, the same is not true for beer. The shift in attitudes towards premium and craft
beers brought on by the arrival of international examples of high quality product has opened up
opportunities for Irish brewers to attempt to meet the public‟s demand for traditionally brewed
beers, ales and stouts. (Irishexaminer.com, 2013) These foreign premium beers have acted as a
primer for the Irish consumer, and now represent competition for local brands competing for the
same shelf space and customers.

2.3 Branding & Marketing Trends

The following section covers the literature as it relates to current trends in the designs and
marketing strategies employed by the craft beer sector. There is a strong emphasis on the
narrative surrounding the industry and the product, which finds a voice in the very direct and
personal modes of communication that brewers are using to connect with and educate their
customers.

2.3.1 Marketing Craft Beer

Marketing has always played a big part in the business of brewing beer. All beer is derived from
a few key ingredients: hops, a starch source, water and yeast. Starch sources used for the brewing
of beer have varied throughout history, largely dependent on what was available to the brewer in
the local area. A cereal grain is the most readily processed form of starch used in brewing. Rice,
corn, wheat, millet, rye and sorghum have all been used at different times by different cultures,
but barley is the favoured grain for the majority of brewing, due to its characteristics when
roasted and mashed to release sugars and enzymes. (Hornsey, 2003, pg. 10, pg.98) Variety is
derived from additive elements, the quality of the ingredients used and alterations to the process
of fermentation. These additive ingredients have also been subject to much change over the
centuries, but today the norm is that a brewer will flavour his beer with hops, a small flower
favoured for its bitter oils and preservative properties. However, it is marketing, a good
backstory and a catchy tagline that serves as the decider of many beers success and failure. It is
by using marketing to accentuate these marginal differences that many brewers seek to separate
themselves from the pack and attract customers.

“Story telling is the key to displaying a brand‟s values” (WaveTrain Intermedia. Web. 01 Oct.
2014) More so than ever, as brands shift their emphasis to perceived values rather than concrete
27
things, this need to be an effective storyteller is paramount for craft brewers. The process of
brewing is very mundane, involving the baking boiling and straining of grain before letting the
runoff sit in a warm dark place until yeasts have done their work. Craft beer makers are quick to
emphasise the other aspects of their business to build their brand identities. The brand building
messages most favoured by craft brewers are those that communicate provenance, individualism
and the locally produced nature of the product. For all beer makers trust is an important issue that
bears special mention. In any society where beer making has advanced to the level where it
represents a trade or employment of a specialist, the quality of the beer produced is of great
importance. Many legal systems that predate the modern norms feature laws and legislation that
dictate the terms and requirements that must be met by brewers to ensure the quality of their
product. (Pepper and Protz, 2000)

The fact that craft beers appeal to what marketing analysts are terming „locavores‟; consumers
who place greater value on goods produced in their local area, (Bord Bia, 2014, Pg. 49) finds an
interesting synergy with one of Irelands other big industries, Tourism. Visitors entering the
country are being actively courted by craft brewers, eager to capitalise on their openness to new
experiences and potential assistance in helping to spread their brand into other markets.

These low key efforts based around transparent and organic direct marketing efforts by small
brewers are also having an unintended effect. By punching up and levelling accusations of
mediocrity at big producers, the challengers have undermined the marketing impact of campaign
strategies that never had to deal with pressure from an upstart and largely underground rebellion.
This unrest takes the form of traditional beer consumers who have been slowly enticed away
from the safe zone of pasteurized and heavily carbonated lagers by punkish craft brewers. They
have gravitated towards beers that promise to be stronger, more flavourful, more authentic and
ultimately more „beery‟ than the ice-cold, gassy beers that swamped the market for almost fifty
years.

The knock on effect of this re-education of beer consumers has been to greatly undercut the
legitimacy of mass market beers. Current market research indicates (Mintel, 2014) that while
beer as an overall category is suffering loss of market share, the craft beer sector is increasing
strongly (Schultz, 2013). These new customers are being created from brand name drinkers who

28
would ordinarily be loyal to well-known macro beers. Consumer and marketing reports indicate
there is renewed social cachet to be found in broader and more discerning drinking habits (Bord
Bia, 2014a) and this is pushing consumers to try brands they would have previously passed up
on. Other sources suggest that these new drinkers are more focused on experiences and attach
value to brands that enrich and enhance their drinking sessions either at home or while
socialising (Bord Bia, 2014b)

Current reports (Mintel, 2014) show that most craft beer drinkers are curious and willing to try
out a variety of offerings in one sitting. The overall trends indicate the numbers of people
drinking craft beer are increasing and that they are generally in the younger age brackets. These
Millennial drinkers are not yet set in their ways and brand loyalty is subordinate to the prospect
of new experiences and following „fashionable‟ craft beers. Described as “Promiscuous”
(Carlagione, 2006, pg.76), craft beer drinkers are typified by a willingness to experiment almost
as much as the beer producers they support. “Millennial preferences for drinks with higher
alcohol content and sophisticated flavors are challenging the beer market and opening
competition between all categories.” (Mintel, 2013)

The Irish market for craft beer is still expanding. The current estimated share of 1.5% of alcohol
sales in the Republic represents the successes of early entrants to the market, followed by
successive waves of breweries established to cater to the emerging tastes of old and new
drinkers.

This market share is primarily made up of drinkers who have actively sought out craft beers from
Irish brewers, having been exposed to foreign markets where these beers styles are well
established and widely available. Looking to these established markets for indications of what is
the most likely evolution of the Irish market it makes sense to predict further growth, up to an
estimated 5-7% of sales in the medium to long term future. However, the path to this market
share is not assured and several elements will have to fall into place to guarantee this outcome.

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2.3.2 Branding Craft Beer
“If you are in the craft brewing business, you are really in the branding business.” Chris Crowell,
writing for CraftBrewingBusiness.com, about the US craft beer market highlights the key point
about the craft beer movement from a business perspective. Positioning a beer as „craft‟ is a
marketing and branding decision that informs almost every other decision made by a brewer.
When a brewery enters the craft beer sector they are immediately expected to display a number
of characteristics, or risk being regarded as jumping on a bandwagon, or trying to pass off middle
of the road beer as something special. Properly branding a brewery and a beer as belonging to the
craft movement is a matter of being finely attuned to the attitudes of customers, thought-leaders,
and other brewers in the same sector, who take on the roles of rivals and compatriots.

Figure i - 'A Bar at the Follies Bergere' by Manet.

Beer branding, like the rest of this design discipline, gets its start in the mid 1880‟s, with the
advent of polychromatic printing techniques that made reproducing colourful and complex
images on paper and metal viable. The first registered trademark, the iconic red triangle of Bass
beer, occurs in 1876. (Garrett, 2012, pg. 16) This distinctive brand can be clearly seen in Manet‟s
„A Bar at the Follies Bergere‟, painted in 1882 (above). The arrival of these two technologies,
one mechanical, the other intellectual, sparks the start of modern marketing. (1876 is a tipping
point for beer on a number of other fronts as well, mostly due to the efforts of Louis Pasteur,
who finally isolates the role of yeast in beer and develops the process of pasteurization, which is
used to stabilise beer two decades before the process is applied to milk). Beer is at the forefront
30
of this new means of promotion, as the benefits of strong branding and colourful advertising help
brewers expand their markets and reach new customers.(Raley, 1998)

Moving into the current day, strategies now used to brand beer are in many instances similar to
those employed by early advertisers. While health claims are no longer a common theme of beer
branding due to much stricter controls on what a food or drink can claim to do with regards to a
consumer‟s well-being, the other staples have remained intact. There is still a great emphasis on
a beer‟s place of origin. This trend is present at all levels of the brewing industry, from the
multimillion Euro campaigns that have made St. Jame‟s Gate synonymous with Guinness, to the
more modest efforts of the micro-breweries who take pains to include as many references to their
rural bases of operation as possible, on labels, websites and sales literature. (BrandChannel,
2013)

This is not to say that craft beer producers are slow to take advantage of new forms of media that
can serve their aim of building strong brands. Given how isolated some of Irelands newest
breweries are, the web and mobile technology are vital tools for building up relationships with
customers. Twitter feeds and Facebook pages frequently announce new batches of limited
edition beers, show how beer is made in small batches and discuss the intricacies of running a
one or two person brewery, all accompanied with behind the scenes pictures and videos.

Lastly, the practice of experimentation and innovation in brewing is a factor of brand building
that craft brewers have latched onto, framing themselves as inventive tinkerers unfettered by the
constraints of big business and conformist market attitudes. This is reflected in the language used
to engage with customers through new and old media alike. The fact that these artisan producers
are able to convincingly own both the roles of brash risk-taker and curator of traditional craft is
something of a novelty in terms of branding and represents a clear advantage for these small
companies looking to build recognition.

New product development and innovation play an important role and act as a
growth driver for the beverages industry. This has been evident in the
premiumisation trend over the last few years. This has led producers to focus on
high quality ingredients, product authenticity and provenance, sustainability and
craft positioning in order to avail of the opportunities it presents.
(Bord Bia 2013, p.33)
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2.4 Analysis of Literature
From the material reviewed it is now possible to evaluate the modern craft beer movement in
Ireland with an understanding of its historical context. The movement is clearly shaped by links
to a brewing heritage that had all but disappeared long before any of these current day craft
brewing revivalists were born. However, a lack of direct links between the tradition and its
revival have not prevented modern micro-brewers from positioning themselves as a continuation
of that practice of craft brewing. In many instances, being seen to resurrect an extinguished mode
of brewing practice is held up as a cause for celebration, and there is no indication that the
discontinuity in practice places these modern brewers at any disadvantage when making claims
of authenticity.

The offset of these appeals to tradition and heritage is the other notable hallmark of the modern
craft brewing movement, a prominently advertised willingness to experiment and innovate at
many levels of the business. This experimentation is evident in areas such as recipes and
ingredients used right through to the structure of the businesses themselves and the sales models
they employ.

All of this is built on the evident change in consumer tastes and expectations. The experiences of
early entrants to the craft brewing sector show that there has been a gradual change in the
confidence and willingness of beer drinking consumers to explore the craft brewer‟s products.
This has been a result of a combination of novelty, the promise of a premium product and the
shift of consumer appetite to experiential and narratively rich products and companies.

2.5 Summary
In summary, the factors which shape the Irish craft beer sector are a combination of historical
forces and modern realities. The 19th Century breweries which are referenced by newly founded
micro-breweries create an anchor of tradition which is used to establish credibility and trust
amongst consumers. Modern influences from both established macro-breweries, which provide a
backdrop against which these disruptive start-ups craft a narrative of rebellion and innovation,
and the preceding craft brewing movements of the UK and US shape the agile and responsive
business practices of these smaller operations. This synthesis of old and new has created a

32
powerful set of marketing and branding tools which craft brewers are employing to create local
markets for their products, with ambitions of future expansion.

This literature review has gone some way towards establishing a historical context against which
to evaluate the synergy between tradition and innovation which characterises the branding and
marketing of Irish craft brewing. The next section will set out the framework for the research
which examines these elements further.

33
3.0 Research Design
3.1 Introduction
Researching the branding and marketing of Irish craft beer has highlighted the challenges and
opportunities of value-added marketing in emerging market spaces. Anyone who is aware of the
main characteristics of „brand Ireland‟ will be acquainted with the nations supposed love affair
with beer and the proclaimed truth that the pub is the heart of the Irish social scene. However,
this aspect of the national character has always been one typified by quantity over quality. Craft
brewing represents an opportunity for beer producers and consumers to shed a mind-set that
caters to limited choice and multinational companies and instead explore the possibility of a
market that offers and demands variety, value and locally produced goods that characterise and
enhance the region's reputation.

Research into this topic has been conducted largely from the viewpoint of print design, focusing
on the questions and problems presented by labelling and marketing of craft beer. Every home
brewer at some point speculates about „going pro‟. It is clear that there are a great many practical
considerations to such a move and for the vast majority it is nothing but a passing fancy. One of
the key questions raised by this research is what role a beer‟s branding plays in its success or
failure? Can a clear cut approach to marketing craft beer be determined from an examination of
the methods employed by the current competitors in the sector? If major commercial success is
achieved, how much must a brand change if it tries to transition from the niche of the craft
brewing scene into a wider market?

To answer these questions, the research undertaken was been designed in a way that would
examine the current market and reach out to the people in the brewing industry making these
decisions. The desired outcome is that this research will give craft brewers some insight into the
issues important to branding their products effectively for a rapidly expanding and evolving
market. It is also expected that by highlighting the common tropes that have already been
exploited, it may cause those responsible for marketing and branding in this sector to explore
fresh perspectives and look for new ways to distinguish themselves in the market.

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3.2 Theoretical Perspective

Epistemology

“Traditionally, there are two approaches to epistemology: Rationalism, which

says we gain knowledge through reasoning and Empiricism, which says we gain
knowledge through sensory experience. Although there are a few extremist
philosophers, generally most agree that both these approaches to knowledge are
needed and that to some extent they support and correct each other.”

- Dr. C. George Boeree, Prof. Psychology, Shippensburg

3.2.1 Rationalism & Deduction

Rationalism is the school of thought that maintains that truthful knowledge can be derived from a
logical process of reasoning. Rationalism relies on the basic assumption that there exist self
evident truths. These facts require no experimental or observational study to demonstrate their
validity and thus can serve as a base from which to reason towards more complex assertions.

In order to build up from the foundational truths described by rationalism, deduction is employed
to form a scaffold of logical argument. By moving from one logical conclusion to another,
complex models can be built which seek to explain a phenomena or underlying truth. These
models form the theoretical framework that is the basis for many forms of research. However,
this reliance on logic will only carry a researcher so far and in many cases must be
complemented with a form of investigation which departs from theory and seeks data from real
world examples. Thus one must turn to Empiricism.

3.2.2 Empiricism & Induction

The basis of empiricism, by contrast, argues that the only truthful knowledge is that which is
backed up by first-hand experience and observable evidence. This school of epistemology
assumes that our senses give us an accurate account of the world and even when they do not, this
is treated as evidence of a fact that is poorly understood, rather than a failure of the methodology.

35
Empiricism relies on both direct and indirect sampling to build up an understanding of a given
subject of study. Direct observation is relatively straightforward, but indirect sampling, or
induction, allows users of empirical methods to extrapolate general truths from observations that
do not take in the entirety of a given subject. This is usually achieved through statistical
extrapolation or analysis.

3.3 Methodology
The research objective for this thesis is to describe the marketing and branding practices that
have served to create and expand the Irish craft brewing sector to date, with the aim of
extrapolating from the current data likely trends and obstacles. To address this aim two strands of
research have been employed.

The first is an examination of the branding associated with the companies and products that fall
under the umbrella of Irish craft brewing. This examination seeks to classify the branding
approaches currently employed by the sector, with the aim of uncovering broad trends,
exceptional cases and underlying commonalities. With new entrants to the market every year,
there is increasing pressure to create effective packaging, advertising and point of sales material
to attract customers and maintain presence on crowded shelves. Brands that have some notable
characteristic are briefly discussed.

This examination of the branding and marketing is, by necessity, not a fully comprehensive
review of every competitor in the market. Due to limitations of space a representative sample of
the current industry output is used to highlight the predominant trends and analyse what elements
are employed and to what effect. By limiting the choice of subjects, the research has been
focused on companies whose approach to branding and marketing have some instructive or note-
worthy feature, rather than acting as a broad canvassing of the entire sector, necessitating the
repetition of common practices and properties.

By necessity this section is rather image heavy, using visual examples to illustrate the points
made. The images chosen are intended to be representative of broad trends, rather than just
attributing the discussed feature or branding practice to the company or product in question.

36
The second strand is an investigation into the marketing strategies employed by these brewers.
The primary data for this are face to face interviews with those responsible for these marketing
activities. This data is supplemented by direct observation of the marketing material employed,
giving special attention to the context in which this material is used.

As with other forms of qualitative research, the form of the research interviews was inductive,
allowing the individuals responses‟ to shape the discussion, while adhering to a framework that
focused attention of the two main strands of the thesis: Current branding design and marketing
practices. The research aims to describe novel marketing strategies being employed by some
Irish craft brewers. While not every significant marketing strategy can be replicated, there are
lessons to reflect on when examining the successful approaches small producers have taken to
growing their customer base.

This collection of interviews, conducted face to face and via email & telephone, seeks to
examine how the stakeholders in the industry formulate their marketing and branding efforts.
These interviews were used to gain insight into what efforts producers make to promote their
products and how they see themselves in relationship to the sector. While the majority of
interviewees were either brewers or persons in the company responsible for branding, the
opportunity arose to talk to distributors, buyers for off and on sales retailers, and agents for
brewers. Their opinions on the state of the market have also been incorporated into this research,
as they offer a different and useful, perspective from the producers of craft beer.

3.4 Research Methods

By using a qualitative approach to researching this topic, the majority of data collected could be
regarded as subjective. The reasoning for this approach is grounded in the observation that the
approaches taken to craft beer branding and marketing are very diverse, and in some cases defy a
quantitative methodology. The data reveals that many of the companies in the craft beer sector
are actively seeking to set themselves apart with visual elements that differ significantly from
those of their competitors. Ultimately, quantitative research techniques were judged to be beyond
the scope and resources of this thesis. Due to the intent of this research to directly query the
brewers engaging in craft beer marketing and branding, the decision to focus on qualitative
research has been assessed as the most appropriate approach. Interviews with those competing

37
in the sector are informative, yet coloured by their perceptions and experiences. Despite this, it is
important that an examination of the data gathered is as objective as possible, and identifies
significant and replicable trends and strategies without favouring any particular company.

The Irish craft brewing industry is experiencing a sustained upswing in performance and gain of
market share and small producers are easy to access and engage with. The people leading these
businesses are usually engaged at an operational level with their marketing efforts and clearly
aware of the importance of branding. They have taken pains to make coherent branding and
marketing choices and there are a number of different approaches being taken, each yielding
different results.

Much of the primary research has been conducted by interview. The primary producers of craft
beer in Ireland operate on a model that ties them closely to the marketing efforts of their brands.
While on site visits are relatively simple to arrange and are used as a means of building brand
awareness, the relevance of the data gained in this manner is limited. With the focus of this thesis
on the customer facing aspects of the products presentation (product branding and marketing), it
made more sense to devote time to understanding the process of selling beer, rather than that of
making it. However, it bears noting that both the practice of touring breweries and visual aspects
of industrial brewing machinery has some relevance to marketing.

Other secondary sources are to be gleaned by examining the coverage that the industry press has
produced. The rise of the craft brewer is no longer an amusing idiosyncrasy and business
analysts are already examining the ramifications of the phenomena. Print and online resources
exist that cover beer, mainly from an enthusiast or cultural perspective. While much of the
material that specifically covers craft beer marketing is confined to the US, the work of industry
bodies such as the Drinks Industry Ireland and Beer Ireland are starting to make inroads into the
task of covering this discipline from a business perspective.

Ireland‟s food industry body, An Bord Bia, has extensive archives of reports and analysis of
trends in the alcoholic beverage industry in this market. Reports from this archive have been
used to help frame this thesis in relation to the wider food and beverage industry in Ireland. Craft
beer is a relatively small niche in the wider alcoholic beverage sector in Ireland, currently
estimated by Bord Bia and other industry commentators to be roughly 1.5 – 2% of current sales,
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and roughly 3% of sales volume, but is enjoying explosive growth and has attracted the
attentions of industry bodies eager to play a part in expanding the sector further.

3.4.1 Collection of Primary Data

The main sources of data for this research were collected through interviews with the owners of
breweries operating in the craft sector and examining the marketing material they create to
support their products. This data was supplemented with information obtained from industry and
enthusiast websites that cover the craft beer sector and conversations with industry professionals
working in related businesses. Many of these conversations and interviews took place at craft
beer events, usually on the trade show floor, and generally before any of the wares on offer had
been sampled. The most recent festival, the Irish Craft Beer, Cider & Whiskey Festival,
presented a valuable opportunity to engage with craft brewers during one of their most important
promotional events.

Due to the high background noise and limited time with each brewer, these interviews were not
recorded, but notes on the main points were taken. These notes have been summarized in
appendix A to build up a picture of the current state of the main marketing and branding
activities of these companies.

Following on from these face to face encounters it was possible to single out brewers who have
adopted unusual marketing and branding methods and focused on examining how and why they
had formed these strategies.

These methods were chosen for reasons of access to the brewing community and because the
data collected would be valuable and current. The research is inductive and based on existing
knowledge, namely how those brewers already brand and market their products.

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3.4.2 Branding Analysis
The framework criteria of the branding analysis are as follows:

a. Characteristics

What theme/value category does the brand fall into?

Are the Brand theme and Product theme/s consistent?

What component/characteristic of the brand is dominant?

b. Brewery/Company Branding

What are the values communicated most strongly by the brand?

What material/imagery/typography is used to communicate the brand?

Who is the brand supposed to communicate to? Who is the target audience?

c. Product/Line Branding

What are the values communicated most strongly by the brand?

What material/imagery/typography is used to communicate the brand?

Who is the brand supposed to communicate to? Who is the target audience?

Does the product branding expand or deviate from the company branding?

d. Distinctive Features

What sets this brand apart from others in its category?

What sets this brand apart in the wider craft brewing market?

How is this achieved through branding?

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3.4.3 Marketing Analysis
The marketing analysis for each of the cases examined is loosely structured as each case offers
some unique approaches to product marketing. Evidence suggests routes to market for craft beers
can vary widely, from straightforward order fulfilment from producer to retailer/customer, to
specialised business to business (B2B) relationships between the producers and particular
clients/retailers.

Interviews

Given that there is very little published long form material focusing on Irish craft brewers and
almost nothing at all that takes a critical look at their marketing, other sources of data are
required to make sense of the subject.

The advantage of the immediacy of this study in relation to its subject is that many of the
principal figures in the craft brewing industry in Ireland are easily accessible for interview and
research purposes. Social media and the internet have become increasingly important tools for
communicating with customers and it is through these channels that many of these research
subjects have been contacted.

Where possible, interviews were conducted on a face to face basis, following a framework that
covered the three main objectives of this study, while allowing for emergence of topics or
questions specific to that particular subject. The loose structure of the interviews is described
below.

This interview framework represents the starting point for these conversations, and in many
cases diverged as some unique factor of that breweries branding and marketing strategies came
to light. Once any divergences of interest had been pursued, the interview would revert back to
the next relevant topic in the framework. By using this looping question and answer method, it
was possible to rapidly skim over those areas of the business that did not differ to any noticeable
degree from the norm, and quickly explore the aspect of these breweries that provided interesting
points of data.

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Interview Framework

Foundation - How and When was the brewery founded?

Products - What is your product and how is it set apart from others in the market?

Branding - Describe your brewery branding. Describe your product branding.

Why have you chosen this route? What are your brand values?

Vendors - Who sells your beer? Where is it sold and in what form?

Marketing - How do you market your beer? What works for you?

Ambition - How big do you want to get? How will achieving that goal change your brewery?

Following on from these initial interviews a selection of candidates was made for further study.
These brewers were then posed questions tailored to their businesses and products in an effort to
understand the marketing and branding choices they had made.

3.4.4 Irish Craft Beer Festival

The Irish Craft Beer & Cider Festival 2014, held in the RDS during September, was a notable
gathering of most of the craft brewers operating commercially in Ireland. The convention was
originally organised by Seamus O‟Hara, of the Carlow Brewing Company. The convention was
initially founded as a way of creating an opportunity for craft brewers to gain exposure to a
wider audience and grow the market.

The September 2014 festival hosted two discussions relevant to this research topic:

● The Craft Beer and Food Revolution in Ireland

● Craft Beer in Ireland: Old vs. New

Attending these talks offered insight into the state of mind of the craft beer sector and shed light
on how they see themselves in terms of the context of the wider industry and their relationships
to each other.

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The conference was well attended, both by experienced craft brewers and new entrants to the
market, many of whom had launched breweries in the past year. Trade attendees amounted to 47
exhibitors, the majority of whom (31) were craft beer producers operating in Ireland. The
balance of trade exhibitors were made up of guest breweries, cider and whiskey producers.
Attendance by the public is estimated at 5,000 - 6,000 members of the public over three days.
Observing the differing levels of complexity and polish of the marketing efforts these companies
brought to the festival was instructive. Each of the breweries in attendance were serving samples
of their beers and most of the stands were a showcase for the companies taps, bottles, branded
merchandise and packaging.

This convention was a perfect venue for gaining a greater understanding of the industry, the
challenges faced by craft brewers and some useful background on the main competitors and their
strategies. This served as excellent background knowledge going forward for interviews with
each of the brewers, as it was much easier to understand the workings of their businesses and the
thought processes of craft beer producers.

The knowledge obtained from this festival, combined with the material already reviewed
regarding the marketing of craft beer, helped to shape the questions for interviews with chosen
brewers.

3.5 Ethics
In the course of gathering data and conducting interviews for this thesis it is inevitable that some
ethical issues will arise. Many of the subjects of this thesis are members of a very tightly knit
industry and have personal, financial and professional stakes in it. Every effort has been made to
present the information imparted during this research in a fair and impartial manner.

3.6 Scope
As of June-July 2014 the Irish craft brewing sector consisted of nearly 50 microbreweries,
contract brewers, brew pubs, brewing plants and other entities all playing a part in the business
of making and selling craft beer and cider. These operations range in size from husband and wife
teams to breweries with attached public houses and the attendant staff. The Carlow Brewing
Company, makers of O‟Hara‟s, are very likely the largest employer in the sector, directly
employing about two dozen people.

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In an effort to restrict this thesis to a manageable size, only a portion of all of these potential
candidates for study has been chosen for analysis and interview. The main criteria for choosing
these brewers is that there is some aspect of their branding or marketing that is instructive or
unique to them in the current market.

3.7 Summary
In brief, the research strategy falls into two parts:

Branding Research:

 Examination of current Irish craft beer brands.

 Identifying relevant features and trends.

 Describing broad categories of brands

 Describe novel examples that have some significance.

Marketing Research:

 Interviewing individuals responsible for marketing Irish craft beers to gain insight into
how the sector as a whole operates.

 Using directed interviews to build up a picture of each brewers principal marketing

strategies and aims.

 Using follow up questions to further explore significant aspects of companies approaches

to marketing.

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4.0 Analysis of Data
4.1 Introduction
This chapter begins with an outline of the seven key branding characteristics found in craft beer
labels. Briefly, the general aesthetic trends of craft labels are discussed. This is followed by a
brief examination of each of the mediums through which these brand characteristics are
expressed. An overview of the marketing practices used by craft brewers concludes the chapter.

There are as many perspectives on the market as there are styles of craft beer in it. The reasons
for entering the craft brewing sector in the past tended to be confined to those who were
enthusiastic craft beer brewers who decided to turn this interest into a business. The growth the
market has seen in the last 10-15 years has led to several waves of breweries being founded,
which have brought more business focused competitors into the sector.

These successive waves of brewers entering the market have built up a strong culture of craft
brewing. This has created a common visual and advertising vocabulary, which informs and
influences successive marketing efforts, even when companies seek to subvert or counter these
common visual tropes.

4.2 Characteristics
It is useful when examining Irish craft beer to make some effort to describe the broad
characteristics each company and its products‟ branding displays. While each competitor in the
field seeks to stand out with distinctive packaging and a compelling sales message, it is only
natural that distinctive trends would emerge as the marketplace matures. These commonly found
characteristics allow the various products under consideration to be compared on a common
basis, thus aiding the process of distilling insights and conclusions from the available data.

Broadly speaking the characteristics assigned sort the subjects based on the tone and character
their marketing and branding seeks to impart. They do not pay attention to respective
size/capacity of the brewing operations, given that rapid growth or failure in the market over a
short period of time can greatly alter the reality of a brewing operation, but the facade presented
to customers is unlikely to change.

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4.2.1 Craft-Like Beers
It is worth noting before proceeding further that craft brewers are now facing increasing
competition from “craft-like” beers offered by breweries that do not fall under the criteria of
craft brewing. It is no accident that these beers that purport to embody the same values and
properties as craft beers are being released at a time when the macro brewing market is seeing
the first signs of contraction in a long time. Much of the following analysis could be used to
describe the characteristics of these craft-like beers. This could be taken as a strong indication
that the marketing departments of multinational macro-brewers are already busy dissecting the
form and manner of craft beer advertising. They will seek understand this new trend in consumer
tastes in an effort to protect their own products from the risk of becoming irrelevant or being
perceived as out of touch in the face of an influx of small nimble competitors.

At the time of writing both Smithwick‟s and Guinness have launched craft-like products into
their on and off sales channels. In the case of the former this comes in the form of a Pale Ale
style of Smithwick‟s, a popular style of beer, which has been key to differentiating craft brewers
in the early years of their establishment. Guinness on the other hand have decided to remind the
beer drinking public that their porters and stouts originate from a tradition of brewing which the
craft brewers of today claim to emulate, but which they had a hand in establishing in the first
place. The release of two Guinness variants has been accompanied by a marketing message
which is quick to point out that these beers were first brewed almost 200 years ago.

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The Key Branding Characteristics

Figure ii - Hilden Ale / Hilden Brewing Company.

Traditional branding positions the beer as one that adheres closely to a heritage of craft brewing
and time honoured values. These beers often come from brands that bear a family name or are
very closely associated with a particular place. Traditional branding focuses on the craft aspect
of brewing, making it clear that the process and ingredients used are of the highest quality. This
type of branding also tends to make reference to the heritage of brewing in Ireland and the
handmade, small batch nature of the beer.

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Figure iii - Stag Bán / 9 White Deer Brewery

Celtic branding, as the name suggests, draws heavily on the iconography and mythology of
Ireland‟s ancient past. Celtic knot work features heavily in this category, as do mythic heroes and
rural landscapes. Celtic branding is also more likely to use the Irish language, drawing on the
exotic sounds and word forms of common Gaelic words to name beers. Celtic branding is also
likely to make use of the „Brand Ireland‟ effect, positioning the beer as a part of Irish culture.

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Figure iv - Rocket Ship IPA / Blacks of Kinsale Craft Brewery

Punk branding uses aggressive and youthful language to position the beer as an anarchic rule
breaker, unafraid of testing boundaries and challenging the consumer. These beers are usually
later entrants to the market, seeking to distance themselves from beers that are seen as
mainstream or safe. The typography and images used in Punk brands is energetic, if sometimes
harder to read.

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Figure v - McGargles / Rye River Brewing Company

Humourous brands aim to be funny and amusing, using slang and puns along with imagery that
pokes fun or lampoons some object or subject. These brands tend to rely heavily on a narrative or
characters with backstories to build a connection with customers, giving the beers personality.
Illustration and heavy reliance on text passages are a dominant feature of these brands.

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Figure vi - Brú Rua / Brú Brewery

Modern brands use clean typefaces and graphical elements to convey a sense of quality to
customers. They tend towards very unified and well designed brand identities, making deliberate
use of naming and colour schemes that are coherent and easy to identify as part of a larger
whole. These brands pay close attention to all aspects of a beer‟s presentation and use higher
than average quality labeling and printing.

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Figure vii - N17 Rye Ale / N17 Brewery

Utility branding uses little or no decoration on its labelling. These brands are often stark in
appearance, stripping away any element not deemed necessary. A purely typographical approach
is common to this type of branding. This approach often reflects a complete break with the forms
and conventions of traditional craft brewing and may indicate a brewery that is willing to make
experimental beers without regard for past practice.

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Figure viii - McGrath’s / Clanconnel Brewing Co.

Artisan branding adopts the appearance of official or backroom documents to suggest a

workmanlike approach to the production of the beer. The labels often feature a combination of
type and line arrangements, suggesting forms, combined with signatures and checkmarks or
batch numbers to emphasise the importance of quality control and adherence to a well-developed
system of brewing. This branding approach will often make use of distinctive paper substrates or
printing methods to achieve an authentic look.

Applying these characteristics to current beers is not simply a case of choosing only one per
brand. Many craft beer brands display more than one of these characteristics and use
combinations that may not seem likely at first. Brú brewery is a good example of a
Celtic/Modern hybrid, using clean san-serif type and foil elements, coupled with Gaelic names
and illustrations of Celtic heroes in its packaging. In contrast, O‟Hara‟s branding is
Traditional/Celtic, a common combination. There is some knot work used as background
texture, along with a typeface that makes a clear connection to Gaelic script, but the emphasis is
on the family name and the brewery‟s craft credentials.

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4.3 General Aesthetic Trends
Product designers acknowledge that there are visual codes, in terms of package design, that
typify certain product categories (Fishel, 2003). Dairy products are almost universally white and
blue/green, tech products use san serif type, while luxury goods often tend towards textured and
embossed packaging. This research into craft beer branding seeks to establish what, if any, codes
exist in the sector. In many ways, the design aesthetics used by Irish craft brewers reflect their
habit of borrowing from other traditions on an a la carte basis. Many historical type and design
styles are aped in the labelling and packaging, making the overall picture of the sector as eclectic
and independent as the brewers who inhabit it.

4.3.1 Colour
In craft beer, before any other consideration regarding colour is made, the default base is brown
glass. This staple is a visual signifier to the customer that the brewer places the condition of the
beer over its appearance, in contrast to the clear glass that typifies macro beers. This has instilled
in customers an expectation that brown bottles denote quality.

The reason for this lies in the earlier history of beer bottling. Beer is a relatively volatile liquid
and can be spoiled by any number of environmental factors not least of which is light. When a
beer is left exposed to light for too long it „skunks‟, producing an unpleasant smell. Ideally beers
would be bottled in a totally lightproof container which at the time would have been earthenware
jugs. These are expensive to produce so brewers opted instead for brown glass as it blocks most
of the light entering a bottle (green is a less effective alternative). Advances in beer making and
bottling have reduced the risk of skunking and allow retail beers to be safely displayed in green
or clear bottles for longer periods, but the brewery seeking to convey a connection to tradition
and the best practice of the brewer‟s art continues to opt for brown bottles.

Craft beer labelling is diverse in its colour choices. Strong use of bright, but not neon, colours
contrast well with the dark brown of the bottles. Most labels have a single unifying colour,
typically accented with contrasting type. In cases where an extra nod to premiumisation is
required, metallics and foils are used as borders and outlines.

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4.3.2 Typography
Typefaces used in beer labelling vary significantly, depending on which characteristics the
brewer has decided to adopt. Scratchy, distorted and haphazardly arranged type denotes a
rebellious and anarchic brand attitude. Even then, there are calls back to heritage and tradition,
using mismatched woodblock style type and faux distortion as might result from a particularly
ill-kept printing press. 8 Degrees Brewing and Galway Bay Brewing both use this formula, while
framing each label in an overall design template.

In contrast many brewers, seeking brand provenance, plunder the archives for styles that evoke
everything from Victorian signwriting to Art Deco metalwork. 5 Lamps Brewing and Hilden
Brewery make effective use of the former, while Metalman Brewing is a notable example of the
latter.

Lastly, thoroughly modern type branding treads a line between the traditional and the rebellious,
owing more to type and design theory of the 21st Century than emulating any past fashion.
Kinnegar Brewery, part founded by designer Libby Carton, uses clean composition and bold,
san-serif colour to brand a beer range that owes little to past aesthetic mores. In stark contrast,
but no less modern is Trouble Brewing, whose cartoonish, bubbly type stands apart from
competitors.

Typically the typefaces used by craft brewers are chosen to reflect the character of the brewery
or beer brand they seek to establish. These choices tend to be more diverse than those found in
the labelling and advertising of macro-breweries. Some of this diversity may stem from a lack of
design sophistication, but it is just as valid to attribute it to the highly individualistic attitudes of
these independent operators.

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4.3.3 Illustration
Although not as commonly found in Irish craft beer branding as other craft beer markets,
illustrations are still present. Animals, usually highly stylised, are common, from the wolf‟s head
of Blackstairs Brewing, to the prickly hogshead of Bo Bristle, product of The Fine Brewing
Company. The manner of illustration is quite varied. Black Donkey Brewing uses a fully painted
scene on their bottles of Sheepstealer, featuring the breweries mascot making off with the
aforementioned livestock. Trouble Brewing uses illustrations that almost seem to have been
clipped from a cartoon or comic book, usually coinciding with a punning title. For the most part,
many breweries prefer to rely on icons and logotypes to decorate their bottles.

4.3.4 Logo
From the elaborate to the simple, logos dominate the branding of craft beer. In recent times the
focus has landed on the brewery logo, whereas in the past it was not unusual for breweries to
develop a distinct logo for each of their styles of beer. This practice still exists amongst some
smaller brewers, especially those who specialise in one off beers or festival specials, such as The
Brown Bag Project. Increasingly, as breweries mature, they are concentrating on unified line
branding and seeking consumer recognition for their brands.

4.4 Branding & Packaging

Having covered the primary brand characteristics brewers adopt, we now turn our attention to the
means by which they communicate these brand values to customers. While the bottle or glass is
the most immediate and frequently encountered vehicle for a beer brand, there are many other
ways that the brand can be communicated to customers and successful brewers understand the
importance of using the media that best suit their needs and budgets.

4.4.1 Containers & Labels

Perhaps the most important aspect of any craft brewers branding is the appearance of their core
product, their beers. The style in which a brewer clothes his beers communicates a great deal
about the brand values and aspirations. As a rule, Irish brewers restrict themselves to the
standard styles of bottle, either the 330 ml or 500 ml brown glass. These are easily handled by
automatic bottling plants and suit most types of beer.

It is only recently that Irish brewers have started to adopt other forms of packaging. Metalman
Brewing Co. will introduce their first canned beer in 2015. In fact, this will be the first form
56
factor other than kegs that the brewery have shipped their product in. This trend follows in the
steps of American and UK craft brewers who, in recent years, have made their beers available in
this traditionally macro brewing form factor. These efforts have seen craft beer drinkers start to
re-evaluate their perception of how premium beers should be presented and embrace craft beer in
cans.

If the bottles are standard, the labelling applied to them is anything but. The various design and
branding decisions that determine how these labels look has been discussed in the previous
section, but the substrate of the label itself is also a matter of some interest.

Small breweries have to make tough choices regarding the type of labels they use on their
bottles. A standard pasted paper label is the most common choice, sometimes paired with a
smaller, matching neck label. However, this type of label is cheap, easily damaged and tends to
detach from cold bottles covered in condensate. To further compound its sins, this is the
substrate most commonly found on macro brew bottles.

Irish craft brewers have increasingly opted for adhesive paper and polymer label substrates,
ensuring a fixed bottle position. These labels are usually either of a front and back panel or an
almost full wrap variety, allowing enough space for product branding, barcodes and other
information. These slightly higher quality labels are a popular choice despite their associated
cost, as they are more robust and can be ordered in small print runs, which is a key consideration
for a brewery which is producing seasonal or festival styles of beer.

Regardless of which substrate is chosen, the shape of a label will have an impact on the overall
design. While most labels are of a standard rectangular shape, either square or rounded at the
corners, many brewers are investing money in die cut labels that enhance the appearance of their
bottles. A distinctive label shape is an effective means of making a beer stand out, especially in
display conditions where the majority of the competing brands are also packaged in standardised
brown bottles. Bo Bristle use a simple die cut, consisting of an oval protruding from a standard
rectangular label, combined with bright colours, to ensure their brand stands out on the shelf.
Designs that take advantage of the more complex shapes allowed by die cuts further exploit the
possibilities of the form. Kinnegar Brewery use a label that features a die cut shield, coupled
with clean mono-colour designs, to good effect.
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Figure ix - An example of screen printed labelling

Finally, a brewer may decide to dispense with separate labelling altogether. Although more
expensive again and more technically demanding as a process, printing straight to the bottle is a
labelling method that is starting to find its way into craft beer packaging. More commonly found
on pub glassware, screen printing directly to the bottle offers interesting design possibilities,
freeing the designer from the „frame‟ of a paper label. The White Gypsy Brewery in Kinsale
have begun to use this method of print to produce strikingly minimalist packaging for a range of
unapologetically artisan beers.

4.4.2 Unified Line Branding

At the start of the modern Irish craft beer revival, the focus for brewers was on manufacture,
experimentation and finding a local market. While there are certainly notable examples of
pioneers in the sector who came to the market with a well thought out and coherent branding
scheme, the majority favoured an approach that treated each of their beers as individuals. In
recent years, this tendency has faded. Those brewers who managed to find success have
standardised their branding and started to think about how their branding strategy encompasses
more than just the labels on their beer. Notable examples of companies who have taken this route
are Galway Bay, Blacks of Kinsale and Franciscan Well.

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In many cases this brand unity has been brought about by shifting the responsibilities of branding
and design to a qualified third party. As these craft brewers have grown and become more
professional, the trend is towards outsourcing the aspects of their businesses where they do not
enjoy any aptitude or interest to other professionals who can enhance their product brand,
leaving them with more time to focus on the core of their businesses; brewing high quality craft
beers. Using professional design services has given the newer entrants to the market a more
diverse look, as each seeks to place distance between themselves, more established craft brewers
and bigger brewing concerns.

This trend of unified line branding is certain to continue as producers struggle to find shelf and
tap space in a market that is seeing new entrants every year. In the case of breweries that are
producing three or more styles of beer on a regular basis, recognisable trade dress is a must to
encourage fans of one style in their range to migrate to their other offerings.

Figure x - An example of a unified line branding scheme

A good example of this branding practice is the output of the Carlow Brewing Company. Their
flagship product line, O‟Hara‟s, uses a unified branding design for their range of beers. A
patterned field of colour bearing the O‟Hara‟s logo and name ties the product line together. This
template may be altered slightly for seasonal or one off lines, or in the case of their Curim Gold
wheat beer, the large “O‟Hara‟s” is replaced with the beer name.

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Up until recently, copper foil bands around the top and bottom of the labels further unified the
line branding, but these have been dropped as their range has expanded, most likely due to
printing costs. Instead full colour labels with mock foil gradients are now standard.

The designs used on the core range are generally derived from Celtic and La Tène decorative
knot work, a staple of packaging that seeks to evoke Irish origins and links to Irish heritage. The
company logo, consisting of spirals on a roughly hewn circle over a broad dash, alludes to the
carving at Newgrange and other ancient archaeological sites. The logo shapes are said to
represent a sword and shield, making further allusions to Irish history and mythology. These two
shapes can also be interpreted as a sliotar and hurling stick, invoking one of Ireland‟s most
distinctive games.

Later additions to the product line make small adjustments to this template, using differing
background imagery and thematic typography to move them further into contemporary craft beer
territory, without stepping outside of the framework established for the range as a whole.

The advantages of a unified branding scheme are immediately apparent. Regardless of which
product is encountered first by a consumer, the labelling imparts enough information to make
other products in the same family easily identifiable.

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4.4.3 Glassware
If the majority of practices that Irish craft brewers have adopted originate from the American
side of the movement, the use of distinctive glassware is very definitely an idea borrowed from
Europe‟s grand brewing tradition. However, beyond applying some branding to a conventionally
shaped pint glass, not many Irish craft brewers are exploring the area further.

One company that has embraced this trend is White Gypsy. This brewer is at pains to display
their bottled beers with a glass shape appropriate to the style. These vary from bulbous tulip
glasses to old-fashioned straight sided stout glasses. Given the diversity of beer styles produced
by some craft brewers, it is understandable that they are cautious about emulating this potentially
expensive practice. However given the visual appeal imparted by distinctive glassware, it is a
potent part of creating a brand identity. A strong association with a particular type of glass
creates added prestige value for the customer who orders it and the public house or restaurant
that supplies it.

Figure xi - An example of a glass growler

Although a rare sight in the current market, a staple of US brewpubs is a vessel called a
„growler‟. These large jugs (1.89 litres or ½ gallon) are used by craft beer pubs to bridge the gap
between on and off sales. In essence, a growler is a reusable jug which is purchased from an

61
establishment and then filled from a bar tap. Once a customer makes the initial investment of the
price of the jug, refills are priced at a competitive level. Refills are available during pub opening
hours, making these half gallon jugs a popular choice for those fortunate enough to live within
easy reach of a brewpub, especially after the local off licences have closed.

From a branding perspective, the most obvious advantage is that the growler, like glasses, can be
screen printed with a prominent logo and other marketing messages. Secondly, the novelty of
these large beer vessels make them a talking point in homes and encourage repeat visits for
refills, especially when new or seasonal brews are on tap, but not available in bottles. Currently,
the practice of filling growlers in the Irish market is restricted to the Galway Bay pub chain and
J.W. Sweetmans of Dublin, who are happy to fill their own and each other‟s growlers. This co-
operation is important for maintaining goodwill amongst craft brew consumers and gives both
enterprises access to committed beer enthusiasts.

Figure xii - An example of a custom bar tap

4.4.4 Bar Taps

For draught beer, the bar tap is the last outpost of brand building before the beer itself takes on
the task of living up to the hype. When faced with a row of bar taps, all bearing unfamiliar
names, the craft brew drinkers must make their purchasing decision based on they can deduct
from the labels arrayed before them. A well designed bar tap will draw the eye and push the
product to the forefront, maximising the chances of securing a sale.
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Brewers seeking to gain an advantage at the point of sale in public houses would be wise to give
some thought to the presentation of their brand at the tap. Despite the costs involved in building
elaborate bar taps, the benefit of standing out against the crowd should not be underestimated.

Figure xiii - O'Hara's online merchandising store

4.4.5. Merchandise
One of the advantages of building a recognisable brand is the opportunity to capitalise on the
brand to generate new revenue streams. This can produce a positive feedback loop, as quality
merchandise serves to extend the reach of the brand, which further enhances the desirability of
the items in question.

The merchandise store run by O‟Hara‟s demonstrates how they seek to build their brand
recognition and loyalty through premium products that supplement their beer lines. The
standards for the industry are present, including a variety of t-shirts in a selection of styles and
several types of branded glassware.

Additions to this selection are instructive. An embossed tin sign and packs of out of print bottle
labels and beer mats are also offered through the store. The former is a deliberate call back to the
advertising signs used by brewers in the 19th and early 20th centuries, linking the O‟Hara‟s
brand to that tradition and marking it out as a brand that embodies similar values found in the
brewing successes of the past.

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The other offering, the labels and beer mats pack, seeks to capture the attention of the brand
loyal enthusiast and the collector. It signals that there is enough history behind the product for
some aspects of those earlier offerings to have become rare and collectable.

Figure xiv - A print advert by Galway Bay mimicking the early Punk asthetic

4.4.6 Print Media

Print advertising in traditional media such as newspapers and outdoor advertising, is a relatively
large expenditure for a small craft brewer. Access to cheap digital printing of a high standard
provides a means to market the brand through print by seeking other venues where a low
intensity effort suits best. This includes using bar mats, beer mats and table stands in
establishments where the product is available and distributing flyers and posters to off licences.
These materials are cost effective and well suited to conveying a brand narrative, as they are read
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at leisure by customers. White Hag Brewery have employed the table stand to good effect to
quickly outline the main characteristics of their six launch beers with a slightly unusual format
and a striking appearance, melding high quality print and paper substrate with a clean, one colour
design layout.

A sight familiar to any pub-goer is that of the humble beer mat. These cheap and disposable chits
of absorbent card have been a mainstay of print advertising for the brewing trade since their
introduction by German printing company Friedrich Horn of Buckau in 1880. Their constant
presence has done little to diminish their potential as an advertising medium and with a little
creativity they can be used to impart a lasting impression.

From the perspective of brewers looking to make their way into the on sales retail environment,
the benefits of coasters are two-fold: They show the publican who receives them with an order
that the craft brewing business they are dealing with understands the trade and is taking pains to
supply them with the little extras that ease the day to day business of a bar. They also serve to
catch the attention of curious customers who may not have spotted their tap or bottles behind the
counter.

Figure xv - An example of a branded beer mat

For those breweries who are making and selling the bulk of their product for the on sale side of
the business, the beer mat should be considered a key piece of marketing material and pains

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 should be taken to keep the messages they carry up to date and creative, especially when
launching new beer styles or seasonal brews.

For breweries who distribute bottled beer through retail or off sales channels some other
packaging options are available and should be considered as a means of enhancing the
purchasing experience.

Bottle carriers/caddies are a common sight in supermarket and off license shelves. These
convenience items are easy to source and brand, making them a good option for brewers looking
to enhance their shelf presence. The standard 4 and 6 bottle carriers offer a large printable area,
suitable for extensive branding, either by using the space to carry in depth messaging, or making
a visual impact with large graphics.

Figure xvi - An example of a four bottle beer caddy

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4.5 Company Branding
While the beer produced by a brewery is by any standard the most important focus of a
company's branding efforts, it is worth paying some attention to the brand umbrella of the
brewery itself. These brand identities are almost universally aligned with the branding of their
core products. This additional layer of branding serves to give a brewer a platform to
communicate values to the customer who wishes to learn more about the people making beer that
they enjoy.

Breweries seeking to enhance their brand identity have a number of channels available to them.
Like most other customer facing businesses, craft breweries have been quick to embrace online
marketing channels, using websites and social media to engage with the customer. These
mouthpieces can be combined to bring current news and updates to otherwise static sites and
keep customers up to date with new beer releases and also serve to highlight when a new pub or
other retail outlet starts stocking a breweries beers.

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4.5.1 - O’Hara’s / Carlow Brewing Company

Figure xvii - O'Hara's highlight their craft credentials

through their branding

Established in 1996 by Seamus O‟Hara, the Carlow Brewing Company, known widely for the
line of beers bearing its founders name, is one of the first breweries to benefit from the renewed
interest in the craft beer market.

O‟Hara‟s have the advantage of having been one of the first entrants to the modern Irish craft
beer market. The simple fact that they have been around longer than many of their peers gives
them a certain cache which the company has used to influence the sector and establish itself as a
leader in a newly founded network of Irish breweries. The founders name is on every bottle, the
company predates the current rush to the market by over a decade and the founder has had an
active involvement with establishing craft beer festivals and business support networks here and
abroad. The “Estd. 1996” strap underneath the logo reminds visitors to the site that the company
and its beer can now claim a relatively long history when compared to recently established rivals.

The O‟Hara‟s website clearly communicates their positioning as a maker of quality craft beers.
The large, professionally staged product shots, clean brand-focused layout and well written copy
demonstrate a clear vision of a brewery that considers itself a serious contender in the market.

O‟Hara‟s may not have the production capacity, marketing budget, or international reach of
Guinness, but it is clear that the company's marketing strategy is to portray themselves as peers
to the global leader of traditional Irish beverages.

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4.5.2 The White Hag Brewery

Figure xviii - White Hag blend old and modern design

influences in their branding

White Hag is one of the most recent entrants to the sector, having begun trading in July of 2014.
They have taken the unusual approach of entering the market with six beers, covering a wide
range of styles as diverse as a wheat beer, a heather ale and an imperial oatmeal stout. Based in
Ballymote, Sligo, they are part of a group of late entrants to the sector originating from the west
of Ireland, a region that has up until now been linked solely to Galway breweries.

White Hag have taken a contemporary approach to their branding, while their marketing
language frames them as a traditional Irish brewer. This is an approach that has become
increasingly favoured by brewers eager to appeal to a broad section of the drinking market.
References made to „Ancient Irish Mythology‟ and landmarks local to the brewery are used to
establish the company identity as one that is tied to long traditions of brewing in the west of
Ireland. They refer to this tradition as having „waned‟, at least until the White Hag resurrected it.
This claim is not without merit, as it has been almost a century since a brewery operated in Sligo.

The product branding emphasises the brewery identity over that of the individual beers they
produce. A clean modern style of packaging with a neo-carnival approach to typography in the
supporting promotional material is standard across the brands labels, website and supplementary
material

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4.6 Retail Establishments
One aspect of the marketing of beer in Ireland that brewers have traditionally had little control
over or input into is the on sale, or public house. The „local‟ if you will. While large global
brewing companies have had a huge say in what is sold in these establishments, the pub setting
and fit out has largely been a matter of the publicans tastes, desired clientele and budget.

However, the craft brew revival has brought with it a revival of the tied house in the Irish market.
These are pubs that are owned by breweries, but unlike the system of tied houses that dominated
the Irish and UK markets in the 19th and 20th centuries, this new wave of breweries investing in
the on sales side of the trade blurs many of the old definitions and confound expectations.

The most well-known breweries pursuing this strategy are The Porterhouse Brewing Company
and The Galway Bay Brewing Company. Although both are effectively tied house operations,
there are marked differences in their approach.

The Porterhouse group is part of the first wave of Irish craft breweries and were first established
(1996) in Temple Bar as a craft brew pub stocking international beers, before moving into
brewing their own range of beers. The group now has bars in Dublin, Cork, Wicklow, London
and New York. Their bars are outfitted in a style that is instantly familiar to any patron of a
metropolitan gastro pub of the last decade, with an emphasis on dark wood, comfortable
furnishing and space for live music and entertainment. The beers offered are a mix of macro
brewing staples, an extensive range of global craft beers from four continents and a tap run that
is currently dominated by the breweries own wide stable of beer styles.

Due to the establishment of these bars at a time when there was no clear future for craft beer in
Ireland, the Porterhouse group has always kept a foot in both the traditional and craft markets.
Now that the craft market is more clearly defined and understood, the in house beers have clearly
become a more prominent part of the group‟s offering and have successfully migrated to bottled
offerings, with a unique ring pull cap, more often seen on bottled soft drinks from Europe.

In sharp contrast is the Galway Bay group of bars. Established (2009) as a microbrewery in the
Oslo Bar, Galway, the group has since grown into a fully-fledged brewery and bar chain. Unlike

70
the Porterhouse group, each Galway Bay bar trades under a different name, such as “The Brew
Dock” and “Against the Grain”. However, a certain uniformity is in evidence once a patron step
inside. The current trend for mismatched furniture and distressed paintwork is very much in
evidence in nearly all of the group‟s venues. The atmosphere is unapologetically one of beer
geekery and there are no macro brew brands to be found on tap or in the refrigerators.

Board games and other distractions are scattered around Galway Bay establishments,
encouraging patrons to socialise through adult play. Along with the breweries own output,
currently in six styles, a rotating roster of guest beers are to be found in the taps, especially the
cask pumps, uncommon to these shores, but found extensively throughout the British Isles.

One area these two chains share in common is a focus on food pairings and the consumption of
food with beer. Both the Porterhouse and Galway Bay groups offer contemporary bar food
menus, with the former tending towards tourist friendly versions of Irish classics like stews,
while the latter menu is more heavily influenced by the gastro pub and American staples, like
ribs and burgers.

More importantly, both chains fully embrace the presence of international craft beers and are at
pains to maintain as extensive a menu as possible. This often comes at the expense of other Irish
craft brands and represents an interesting intersection between the classic tied house system
tendency for protectionism and the need to present as broad an experience as possible to craft
beer drinkers.

4.6.1 Alternative venues

During the course of researching this topic, it became clear that there are some niche markets for
craft beer that were only revealed during discussion with brewers. Tom Crean, the output of the
Dingle Brewing Company offered a fascinating example of a brewery that has found a
sustainable market with growth potential. The company report that fully 40% of their beer, a
refreshing and well-made lager, goes to one buyer. The recipient is Aer Lingus, who serve the
beer on board their international flights, alongside Guinness. Tom Crean is marketed aboard
these flights as an Irish craft beer. This represents an excellent opportunity to create an initial
impression with visiting tourists before they even set down in Dublin or Knock airport. The
company wisely capitalise on this opportunity by marketing the beer in arrival lounges with a
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leaflet which details the breweries link to the eponymous Irish explorer and features a map of
Dublin, highlighting all of the places their beer is sold. The leaflet also contains photos of the
outside facades of each of these pubs. Short of walking the visiting customer to the tap itself,
there is little else the company could do to help a tourist unfamiliar with their destination make a
purchasing decision.

The above is a good example of how a small brewery can find additional markets by seeking
novel venues to sell their beer. Because craft beer has become closely aligned with local food
movements, it is well placed to seek out customers in the hospitality sector. Deals with hotels
and restaurants in proximity to a brewery take advantage of these establishments desire to source
produce from local suppliers, a selling point that appeals to visiting tourists and regular patrons
alike.

4.7 Marketing Channels

Craft brewers are part of the larger drinks industry, itself a form of Fast Moving Consumer
Good. The FMCG industries are typified by short shelf-life and a requirement to move finished
products from the manufacturer to the customer in as expedient a manner as possible. Many
different marketing channels are employed to facilitate this process, depending on the goods in
question. In many instances the line between logistics and marketing become blurred, as
wholesalers, distributors and other intermediaries take up their places in these chains of
relationships, requiring brewer to consider how they present their products in a business to
business context. The following breakdown outlines the most common marketing channels used
by Irish craft brewers.

Producer → Customer

As the simplest form of marketing channel, the direct interaction of producer with customer
carries many advantages for small producers and a similar share of complications. In terms of
craft brewing this marketing channel often takes the form of a brew tap, the closest tap to the
brewery serving their product. In many cases this tap will be within the confines of the brewery
itself, and is an important part of the appeal of brewery tours. Not every brewery is equipped to
take advantage of this marketing channel, but newer purpose built premises are starting to factor
in this facility as brewery tours become an attractive supplementary stream of income.
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Producer → Retailer → Customer

In off-site sales, this model is the most common currently used by craft brewers. The alliance
between craft brewers and knowledgeable off-sales staff has played a significant part in helping
craft beers become a common sight on off-licence shelves.

Producer → Distributor/Wholesaler → Customer

As the sales markets for a successful brewer widens, it becomes much more difficult to make
direct deliveries to a network of retailers. At this point it makes sense to hand off some of the
logistical work to a dedicated business tasked with moving your product to its final customer
facing venue. Established craft brewers who enjoy demand outside of their local markets are
increasingly turning to distributors and wholesalers to bridge the gap between brewery and shelf.

Producer → Agent/Broker → Wholesaler/Retail → Customer

For many brewers now entering the market, gaining the attention of retailers can prove difficult.
Many earlier entrants to the market have already established good on-going relationships with on
and off site retailers and wholesalers, leaving a narrowing portion of bar and shelf space to try
out new brands. In this scenario an agent, acting as a salesperson in a B2B role, is now one tactic
available to those brewers who would rather spend time on their craft, rather than pressing the
flesh.

4.8 B2B Marketing

Many craft brewers will only ever come into direct contact with a small number of their
customers. While craft food fairs and beer showcase festivals are great opportunities to meet
some of their more engaged customers, they must generally rely on the efforts of intermediate
businesses to promote their product to the wider market. If a publican, or off licence staff
member is to make this effort, they must first be convinced that a craft brewers product is worth
recommending, hence the need for business to business marketing.

4.9 Summary
This analysis has attempted to describe some of the identifying elements of the branding and
marketing of craft beer. It is clear that there are a wide range of approaches available to craft
brewers, depending on the model used for their business and their own ambitions. Apart from the
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traditional branding approaches that craft beer shares with other beer market sectors, this
research shows that these newer micro-breweries are exploring new routes to reach customers.
Branding of craft beer lines is becoming unified under umbrella identities which tie the output
closely to the identity of the brewery itself, allowing for brand lines to be extended and altered
without losing the crucial element of rapid brand recognition.

The use of new marketing channels and retail venues marks a departure from the traditional on
and off sales model that has typified beer sales during most of the last century. The establishment
of public house chains by craft brewers sharply contrasts with the traditional free house system
prevalent throughout the country. These chain pubs are also markedly different from the tied
houses typical of the UK, offering a new blend of the two traditions, and placing a greater
emphasis on the social experience of drinking premium beers from local and international
suppliers.

This analysis establishes a broad base of information from which to draw conclusions about how
the sector might expect to develop and continue to innovate in the future.

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5.0 Conclusions & Recommendations

“First they ignore you, then they laugh at you, then they fight you, then you win.”

– Mahatma Gandhi

5.1 Introduction
From the preceding evidence it is possible to draw a number of conclusions concerning effective
branding and marketing practices for Irish craft brewers.

The following conclusions and recommendations reflect on what is currently working on the
market and look at what approaches craft beer marketing can take in the future. As with many
sectors of the Irish food and drink industry, the big gains are sure to come from finding markets
outside of Ireland, for those brewers who are willing and able to take on the task of bringing their
product into mature market places.

5.2 Conclusions
The craft brewing market in Ireland is modernising rapidly. Newly forged links between
brewers, off licences and public houses are giving rise to new technologies and packaging
strategies being adopted at a rate that will quickly bring Ireland up to date with more mature
markets in a very short period of time. Metal canning will further extend the reach of Irish craft
beer into untapped retail venues and international markets. The advent of growlers and other
cross on/off sales models are further improving the ability of Irish beers to access new drinkers
and retailers.

“Craft-like” beers will put increased pressure on small brewers in terms of price and awareness.
Companies like Diageo and AB InBev are well aware of the increasing competitiveness of small
operators in this market and the shifting tastes and perceptions of the drinking public. They will
continue to make offerings to the market that are closely positioned to craft beers value
proposition, but competitive on price due to economies of scale and logistics. These brewers
have large archives of traditional beer recipes dating back over 200 years and will likely revive
some of these in a bid to position themselves strongly in the craft beer market.

With only 1.5% of sales across the beer market, Irish craft beer can expect to capture a further 2-
4% of market share in the next 5 years, if current trends prevail. Sales in the local market grew

75
by 46% in 2012. This considerable headroom means that despite the seemingly exponential rate
of brewery founding there is space for at least a couple of brewers per county, if not more,
depending on population density. That said, economic constraints will encourage breweries to
either expand out of the microbrewery category, or merge with other brewers to take advantage
of economies of scale. This will have the interesting effect of opening up premises and
equipment to a further wave of independent small scale brewers, as their forerunners abandon
them for bigger operations. Potentially this will create a strong export base for the industry as
brands that gain local, regional and national success expand into the mature American market
and the emerging Asian markets.

Marketing and branding in this sector has, to date, concentrated on establishing authenticity and
stressing independence. As more local producers come on-stream throughout the regional
markets, the effectiveness of this approach will diminish. When every brewer can make the same
claims of being local, traditional and made from only the finest ingredients, then these statements
will lose their power to sway consumers towards a purchasing decision.

This will lead to a market where the standout brands are those who can quickly communicate
these taken for granted standards and then add value with their own unique twist. This may take
the form of producing a hyper localised branding strategy, focusing on people, places and events
that resonate with a dedicated local customer base. Distinctive packaging that makes use of both
very traditional print methods and textiles is another approach likely to find success. Lastly,
those brewers who wish to perpetuate the image of brewing revolutionaries that have served the
sector well in the past may look to new ways to package their beer.

New packaging options will be increasingly available to small craft brewers as intermediary
packaging and design suppliers reach out to facilitate the needs of companies producing FMCG‟s
in limited numbers. These innovations include canning, soft pouches capable of withstanding
carbonation and reseal-able/reusable bottling solutions.

The marketing and branding of craft beer here in Ireland has a long history to draw upon and is
paradoxically beholden to very little of it in the present day. Regional brewers more or less
disappeared from the Irish commercial landscape in the early 20th Century, followed by the rise
of products like Guinness and Smithwick‟s to the ranks of internationally recognised brands
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closely associated with Ireland. These companies subsumed or supplanted almost every other
regional product in the same categories, turning the production and consumption of alcohol into
a hegemony. This has set the stage for Irish craft brewers to dictate the terms by which they
identify themselves. It also places almost every brewer in the category of challenger brand,
seeking to overcome a small cadre of incumbent brands that have made a place for themselves in
the national psyche.

Size of the Market

During many of the conversations I have had with producers, retailers and enthusiasts in the
sector, I have asked them about how big craft beer could get in Ireland as a market. Often this
question was met with an open ended response and often cautious doubts about how many more
competitors the current market can sustain. It is almost certain, judging by current market
forecasts, that craft beer, as a share of the overall Irish beer market, will reach 5-7% inside 10
years or less, from a current 1.5% base.

What is not certain is how many brewers will be dividing up that slice of the market. Since 2010
the influx of new breweries has more than doubled the numbers of craft brewers operating in
Ireland. This has given rise to a concern that the market will soon become oversaturated, or
unsustainable for breweries below a certain size.

To put these concerns into perspective it is worth looking abroad for clues as to how the local
market may evolve. One market that stands out in the craft beer world is the city of Portland,
Oregon. This city is home to over 40 breweries which operate inside the city limits and another
50 are present in the surrounding region. The bulk of these are independent craft brewers, selling
locally, supplying bars and restaurants and shipping the rest to adjacent markets. The truly
remarkable thing about Portland is its size relative to that of its brewing industry. According to
figures from 2013, Portland is home to just over 600,000 people. In comparison, Dublin, Ireland,
as of 2011, could claim 527,000 inhabitants. If you then consider that currently there are no more
than a half dozen breweries and brewpubs operating inside the M50, then it is clear that fears of
oversaturation are misaligned with the potential model for growth offered by this small US city.

77
However, underlying this is the reality that the Irish craft beer market is not composed of just
Irish competitors. The entire basis for the craft revival stemmed from the growing interest of a
well-travelled public, who had experienced US and UK craft beers and sought them out in
Ireland. If Irish craft brewers are to achieve the level of success foreign producers have enjoyed
in the last 20 years, they will have to take steps to supplant well established brands like Sierra
Nevada and BrewDog in the on and off trade, as space is at a premium in both and to date, the
international nature of the beers offered by craft pubs has been one of the main selling points.

It is highly likely that this additional shelf and tap share will have to be sought amongst the very
outlets that have been most reluctant to engage with Irish craft beer; the ubiquitous local pub. As
recently as Summer 2014, the VFI (Vintners Federation of Ireland) and traditional public houses
in Sligo town butted heads with start-up Sligo brewery The White Hag over licensing
arrangements during the annual fleadh ceoil music festival.(Broadsheet.ie, 2014) Overcoming
the reluctance of independent pub landlords to take a risk on what they have termed „a passing
fad‟ will be difficult in the short term, but may prove vital for securing strong local customer
bases for breweries operating outside of major Irish population centres. The strongest arguments
small breweries can make to sway these trade associations centre on supporting local job creation
and the attractiveness of regional beers to visiting tourists.

5.3 Recommendations
Despite the success currently being enjoyed by several craft breweries, which has seen several of
these companies outgrow their initial premises to meet demands, one of the most likely features
of the craft brewing landscape in the next few years will be news of deals with other breweries to
facilitate further growth. Acquisitions and mergers are likely to be faced with some hesitancy, if
not outright hostility, from the core craft beer market in Ireland. It was successive waves of
company buyouts that built the global macro breweries which form the backdrop of „Them‟
against which the „Us‟ of small craft brewers frame their narrative of rebellion. Faced with the
economic realities of a small market crowded with roughly equally sized competitors, pressure
to expand and demands for further product diversification, brewers here will have to put aside
the stance of rugged individualism that typifies the sector and start to think about the best ways
to work together.

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This pressure to co-operate also has an historical precedent. In a paper titled “Enablers and
inhibitors of the development of network capability in entrepreneurial firms: A study of the Irish
micro-brewing network” (McGrath and O‟Toole 2013) the researchers note the benefits derived
from this pooling of resources amongst Belgian brewers and reflect on how the use of co-
operatives and bulk ordering helped these small businesses to leverage some of the economic
advantages enjoyed by larger rivals.

Small business operators in Ireland are typified by a common distrust between members of the
same industries. This national characteristic is not conducive to forging strong business alliances
and if the craft beer sector is to remain as revolutionary and progressive as they like to claim,
brewers must recognise the clear advantages to be enjoyed from co-operation. There is huge
potential for craft beers that are now becoming established in the public tastes to engage in cross-
promotions, themed festivals and other more adventurous activities that raise their collective
profiles and further underline their ethos of rejecting the business as usual mind-set that typifies
the once stagnant landscape of the Irish beer industry.

5.4 Summary
The main findings of this research relate to the wide range of approaches taken by Irish craft
brewers towards product branding and marketing. Some of these conclusions have wider
implications outside of the marketing focus of this thesis and are likely to prompt further
exploration regarding business strategies for overcoming obstacles likely to arise from the rapid
evolution of the sector.

In terms of analysis this research on craft beer branding has met the initial aims with some
degree of success. At the time of writing the market for craft beer continues to evolve at a rapid
pace, meaning that this research is in some ways no more than a snapshot of a sector which will
continue to innovate as it matures. The hope is that by placing some of the focus of this thesis on
the historical context of the current craft beer revolution, it will remain relevant long after the
specific brands examined here have transformed beyond their current forms.

Finally, it is hoped that the research presented above serves as a comprehensive primer on the
current state of the industry, and manages to highlight some of the more noteworthy innovations
employed by these energetic challengers to the status quo.
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7.0 Appendix

Synopsis of Interviews.

The following is a record of the salient information gleaned from face to face interviews
conducted during the 2014 Irish Craft Beer & Cider Festival. This gathering of over 30 Irish craft
brewers proved to be a valuable opportunity to question the producers and promoters in the
sector about their company brands and marketing efforts. This is a selection of the interview
conducted which highlight the differing branding strategies and business models adopted by
competitors in the craft beer sector.

The interviews were conducted on the floor of the festival venue and therefore were not
recorded, but notes on relevant answers were taken during the conversation. The framework of
each interview is presented below.‟. All interviewees were informed of the research purpose of
the interviews before beginning. All those summarized below have given their permission.

Interview Framework

Foundation - How and When was the brewery founded?

Products - What is your product? How many different products do you make?

Vendors - Who sells your beer? Where is it sold and in what form?

Branding - Describe your brewery branding. Describe your product branding. Why have you
chosen this route? What are your brand values?

Marketing - How do you market your beer? What works for you?

Ambition - How big do you want to get? How will achieving that goal change your brewery?

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O’Hara’s / Carlow Brewing Company

Interviewee - Paddy Doyle (Marketing Manager)

Foundation - How and When was the brewery founded?

Brewery founded in 1996 after Seamus O‟Hara returned from the US and established the
brewery, inspired by the craft brewing scene he had experienced abroad. His background in
biochemistry gave him the fundamental grounding in brewing required, as there were no
dedicated brewing training courses in Ireland at the time.

Products - What is your product? How many different products do you make?

O‟Hara‟s product line consists over 10 beers, with another half dozen released as festival beers
each year. These are rotated as we experiment with new recipies.

Vendors - Who sells your beer? Where is it sold and in what form?

Initially we sold our beer in bottles only, through off sales trade. The business has grown
organically as Irish customers become more aware of craft beer and now our draft sales have
surpassed our bottle sales.

Branding - Describe your brewery branding. Describe your product branding. Why have
you chosen this route? What are your brand values?

Our branding reflects our companies philosophy. We focus on making a quality product and
making our beers recognisable. We started out in retail, so our branding had to stand out on the
shelf.

Marketing - How do you market your beer? What works for you?

When the brewery was first established, the overseas markets were key to staying afloat, so we
did our best to establish ourselves as a traditional Irish beer. We have kept the emphasis on our
tradition of brewing since then, even after we felt the time was right to return to the Irish market.
We are very involved in using festivals like this one and tastings in off-licences to educate the
public, who go on to teach their local pubs about our beers.

Ambition - How big do you want to get? How will achieving that goal change your
brewery?

We have recently expanded our brewery, so we are definitely looking to get bigger, especially by
growing the Irish market. Growth isn‟t necessarily pushing us out of the craft beer sector, but we
are concerned as we approach the production cap.
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McGargles - Rye River Brewing Company

Interviewee - Dave McGowan (Brand Liaison)

Foundation - How and When was the brewery founded?

Founded in 2013 by former Molson Coors and Diageo executives and brewers, this producer and
distributor handles a portfolio of European beers in the Irish market. Their McGargles ranges is
targeted at the growing craft brew market.

Products - What is your product? How many different products do you make?

McGargles brand of craft beers. The line currently consists of a Red Ale, a Pale Ale and a
Pilsner. These beers are available in off sales and mainstream retailers as 4 packs of 330 ml
bottles.

Vendors - Who sells your beer? Where is it sold and in what form?

The McGargles brand beers are primarily sold through supermarkets and off licenses. Unlike
most other craft beers they do not have an extensive presence in pubs.

Branding - Describe your brewery branding. Describe your product branding. Why have
you chosen this route? What are your brand values?

McGargles beers are branded using a collection of humorous cartoon characters. The eponymous
„McGargles‟ are a hard-drinking family of misfits, each of which is linked to a style of beer in
the product line.

Marketing - How do you market your beer? What works for you?

McGargles beers are marketed to appeal to „non scene‟ drinkers. Their aim is to act as a
„gateway‟ to craft beer, so the cartoon characters were chosen to appeal to a wide audience.
Social media is important for getting the word out there.

Ambition - How big do you want to get? How will achieving that goal change your
brewery?

Rye River Brewery have definite plans to expand their McGargles brand outside of Ireland. The
US is regarded as a primary target market for export. The same marketing and branding
approaches are expected to establish the brand in the US market, where receptiveness to Irish
brands in the craft beer sector is expected to be high.

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Galway Bay Brewery

Interviewee - Chris Treanor (Head Brewer)

Foundation - How and When was the brewery founded?

The brewery was founded as an on site microbrewery in one of our pubs. It expanded internally
until we simply had to move to a new premises, at which point it made sense to make it a
separate thing. We were running other bars at the time, so they were our first customers.

Products - What is your product? How many different products do you make?

Galway Bay produces draught and bottled beers in a number of popular styles. We make five
regulars, including an IPA and a chocolate milk stout, plus our Pilot series which rotates. If a
Pilot beer is successful we will move it into our main line.

Vendors - Who sells your beer? Where is it sold and in what form?

Our draught beers are only available in our chain of pubs. We recently started to sell in bottles

Branding - Describe your brewery branding. Describe your product branding. Why have
you chosen this route? What are your brand values?

We recently rebranded, in an effort to bring our products in line with each other and because we
had started bottling. We used a professional designer, as it‟s not really our area of expertise. All
of our branding has a sort of modern style and the names of the beers are all related to the sea.
It‟s just a naming convention, being in Galway and so close to the sea.

Marketing - How do you market your beer? What works for you?

We do all of our initial testing and introductory marketing inhouse. We know how to make good
draught beer and if it works there, then we consider moving it to bottling. Our product is for
passionate craft drinkers who don‟t need any hand holding.

Ambition - How big do you want to get? How will achieving that goal change your
brewery?

We are continuing to expand our line of pubs and plan to open in Limerick soon.

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Galway Hooker

Interviewee - Ronan Brennan (Co-Founder)

Foundation - How and When was the brewery founded?

We started off in a place just outside Roscommon town, back in 2006. It‟s a family business, the
two of us are cousins.

Products - What is your product? How many different products do you make?

Galway Hooker is an Irish Pale Ale. We sort of came up with the style ourselves and it‟s our
main product. We have recently started to produce a stout and we do occasional festival beers.

Vendors - Who sells your beer? Where is it sold and in what form?

We sell through the on and off trade. Most of our business is draught beer, so pubs mainly.

Branding - Describe your brewery branding. Describe your product branding. Why have
you chosen this route? What are your brand values?

The brand got started when we held a competition to decide what we would call our beer.
„Galway Hooker‟ was the winner and it was sort of a cheeky thing. At first we did promo t-shirts
for bar staff with the slogan “Call for a Hooker” on the back and that got people talking. That
and the slogan “Nothing goes down like a Galway Hooker”, it was kind of subversive. The
branding has evolved over time and we sort of play down that double entendré now. The brand is
more about quality now and we‟ve slowly expanded it with our new styles.

Marketing - How do you market your beer? What works for you?

It used to be through stunts like the t-shirts, but we mostly use the quality of the beer to speak for
itself. We do bar taps, glassware and other on trade stuff, because that‟s where our market is.

Ambition - How big do you want to get? How will achieving that goal change your
brewery?

We are expanding slowly and the reaction to the new styles is good, so we‟ll see where that goes.

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White Gypsy

Interviewee – Martin Brady (Spokesman)

Foundation - How and When was the brewery founded?

2008. The brewery was already founded and built down in Kinsale, but had fallen on hard times.
We struck a deal with the owners and shipped the plant over to Templemore where we are now.

Products - What is your product? How many different products do you make?

We produce a variety of styles exclusive to particular means of storage. That means we have two
keg styles, two 750ml styles and a few others. If we make something to be served on draught we
don‟t bottle it. The emphasis is on quality, and moving away from traditional styles.

Vendors - Who sells your beer? Where is it sold and in what form?

We sell through the on and off trade. Each retail channel gets different styles of beer, and we‟re
picky about who we sell to. If you don‟t know how to run a tap line properly, we‟re not going to
sell you our beer!

Branding - Describe your brewery branding. Describe your product branding. Why have
you chosen this route? What are your brand values?

I‟d say that quality overshadows marketing when it comes to White Gypsy. We‟re all about
making top class craft beer for the people we live with. Most of what we make is sold locally,
and we have plenty of demand for the rest.

Marketing - How do you market your beer? What works for you?

We don‟t really market. People lift the phone and ask us if they can sell our beer. Our reputation
does all of our marketing for us.

Ambition - How big do you want to get? How will achieving that goal change your
brewery?

Our focus is local for the moment. There is no real plan to expand beyond our current capacity
unless we could match the quality of our existing equipment and maintain our high production
standards.

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N17 Brewery

Interviewee – Sarah Roarty (Founder)

Foundation - How and When was the brewery founded?

We founded the brewery in Tuam at the start of the year (2014).

Products - What is your product? How many different products do you make?

We currently have one product, our award winning Rye Ale, but the plan is to expand our range,
and not just to make beers.

Vendors - Who sells your beer? Where is it sold and in what form?

We sell through on and off sales vendors who we have satisfied ourselves understand our ethos.

Branding - Describe your brewery branding. Describe your product branding. Why have
you chosen this route? What are your brand values?

Or branding, the N17 logo, is actually an umbrella for what we hope will grow into a family of
products. We went to Wolff Olins design firm in London for our branding. They understood our
ethos, which is that we see value in everything and everyone. We try to reuse as much as
possible and minimise waste where possible

Marketing - How do you market your beer? What works for you?

We‟re just starting out now, but we have a strong marketing message based around our focus on
sustainability. The plan is for the by-products from making craft beer to go into the creation of
other products which will share the brand. Secondary products include things like dog treats,
granola bars and mushrooms. We try to untap the full potential of our manufacturing pipeline.

Ambition - How big do you want to get? How will achieving that goal change your
brewery?

We intend to grow as big as we can get. The economies of scale are where we can really start to
see our approach gain ground. I don‟t want to say we will be the next Virgin, but we are always
seeking new ways to grow.

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